Modification de Mutable Instruments Clouds

=[[Mutable_Instruments|Mutable Instruments]] Clouds=

Texture synthesizer

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[[Fichier:Clouds.jpg|none|200px|thumb|Clouds Front]]
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[[Fichier:130642 2.jpg|none|200px|thumb|clouds]]
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[[Fichier:Clouds back.jpg|none|200px|thumb|clouds back]]
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==2 Pitch-shifter/time-stretcher==

This engine is quite similar to the granular mode, except that it uses two overlapping grains synchronized with the most salient period of the sound. The grains are carefully spliced so that they mesh well with each other (a technique similar to the “deglitching” of early pitch-shifters). Modulating POSITION when recording is frozen will “scrub” through the audio buffer. Clouds’ uses classic time-domain methods which are not suitable for polyphonic or percussive material (unless this percussive material is breakbeats and you liked Akai samplers. Then: smile).

DENSITY creates a granular diffusion effect based on all-pass filters; and TEXTURE acts as a low-pass/high-pass filter. SIZE controls the size of the overlapping windows used for pitch-shifting and time-stretching – from an extremely grainy “drilling” sound to smooth bits of loops.

Sending a trigger on the TRIG input creates a clock-synchronized loop (when FREEZE is enabled) or stuttering effect – equivalent to applying a tempo-synchronized decaying envelope on the POSITION parameter.
Looping delay

==3 Looping delay==

The looping delay engine continuously plays back audio from the buffer without any kind of granularization. POSITION controls the distance between the playback head and the recording head (in other words, the delay time). Modulating POSITION will create effects similar to vinyl scratching or manual manipulation of tape. When FREEZE is activated, the content of the audio buffer is looped (stutter effect). POSITION controls the loop start and SIZE the loop duration.

DENSITY creates a granular diffusion effect based on all-pass filters; and TEXTURE acts as a low-pass/high-pass filter. SIZE controls the size of the overlapping windows used for pitch-shifting – fully clockwise for a smooth result that might smear transients, fully counterclockwise for a grainy, almost ring-modulated sound.

When FREEZE is enabled, sending a trigger on the TRIG input creates a clock-synchronized stuttering loop. Otherwise, the period of the trigger pulses sets the delay time – provided this delay is shorter than the recording buffer size.

==4 Spectral Mode==

Parameters in spectral mode:

POSITION = selects in which buffer the audio is poured (when FREEZE is not active), or from which buffer the audio is synthesised (when FREEZE is active).

Example:

Set POSITION to minimum value. FREEZE. You get a first texture. Set POSITION to maximum value. UNFREEZE. Wait for something else to happen in the incoming audio. FREEZE again. By moving POSITION you interpolate between the two textures which had been captured at the press of FREEZE. Depending on the quality settings there are 2 to 7 buffers laid out on the course of the POSITION knob. So it's a bit like morphing between FFT slices.

SIZE = change the coefficients of a polynomial that determines how frequencies are mapped between the analysis and synthesis buffers. It's like a 1-knob GRM Warp. Over the course of the knob it'll do spectral shifting, but also spectral reversal.

PITCH = pitch-shifting.

DENSITY determines how results from the analyzer are passed to the resynthesizer. Below 12 o'clock, there's some increasing probability that a given FFT bin won't get updated, causing a kind of partial freeze. After 12 o'clock, adjacent analysis frames are increasingly merged together (like a low-pass filter in the amplitude each frequency bin). At extreme settings, random phase modulation is applied to smooth things - giving you different flavours of spectral muddling/reverb.

TEXTURE does two things: below 12 o'clock, it increasingly quantize the amplitudes of the spectral components, like a very low-bitrate audio file (a long time ago I loved making super harsh noise textures by loading text files as raw audio files in an audio editor... then encoding as mp3 or real audio with super low bitrate to make it sound like some underwater brian eno). After 12 o'clock, it increasingly weakens the strongest partials and amplifies the weakest ones. This has the effect of making the spectrum more noise-like.

==Clouds Cheatsheet==

all the modes + parasites firmware modes

[[Fichier:CloudsCheatsheet.pdf | CloudsCheatsheet.pdf ]]

==liens==

playlist sur youtube : https://www.youtube.com/embed/cy34cBwM-Uo?list=PL54NASqAHmsRHRedsHZtW2QLKNsgGpmhu

clouds/parasites reference guide : https://drive.google.com/file/d/0Bx2WGFW47ykbSXJRNEFwRHhBN1E/view
@@ Ligne 1 : / Ligne 1 : @@
-[[Mutable_Instruments|Mutable Instruments]] Clouds
+=[[Mutable_Instruments|Mutable Instruments]] Clouds=
-==Texture synthesizer==
+Texture synthesizer
 {| border="0"
@@ Ligne 12 : / Ligne 12 : @@
 |}
-==Pitch-shifter/time-stretcher==
+==2 Pitch-shifter/time-stretcher==
 This engine is quite similar to the granular mode, except that it uses two overlapping grains synchronized with the most salient period of the sound. The grains are carefully spliced so that they mesh well with each other (a technique similar to the “deglitching” of early pitch-shifters). Modulating POSITION when recording is frozen will “scrub” through the audio buffer. Clouds’ uses classic time-domain methods which are not suitable for polyphonic or percussive material (unless this percussive material is breakbeats and you liked Akai samplers. Then: smile).
@@ Ligne 21 : / Ligne 21 : @@
 Looping delay
-==Looping delay==
+==3 Looping delay==
 The looping delay engine continuously plays back audio from the buffer without any kind of granularization. POSITION controls the distance between the playback head and the recording head (in other words, the delay time). Modulating POSITION will create effects similar to vinyl scratching or manual manipulation of tape. When FREEZE is activated, the content of the audio buffer is looped (stutter effect). POSITION controls the loop start and SIZE the loop duration.
@@ Ligne 29 : / Ligne 29 : @@
 When FREEZE is enabled, sending a trigger on the TRIG input creates a clock-synchronized stuttering loop. Otherwise, the period of the trigger pulses sets the delay time – provided this delay is shorter than the recording buffer size.
-==Spectral Mode==
+==4 Spectral Mode==
 Parameters in spectral mode:
@@ Ligne 47 : / Ligne 47 : @@
 TEXTURE does two things: below 12 o'clock, it increasingly quantize the amplitudes of the spectral components, like a very low-bitrate audio file (a long time ago I loved making super harsh noise textures by loading text files as raw audio files in an audio editor... then encoding as mp3 or real audio with super low bitrate to make it sound like some underwater brian eno). After 12 o'clock, it increasingly weakens the strongest partials and amplifies the weakest ones. This has the effect of making the spectrum more noise-like.
-==CheatSheets==
+==Clouds Cheatsheet==
-===Clouds CheatSheet V3 ===
-by Titanium
-[[Fichier:Mutable Instruments-Clouds Cheat Sheet v3.pdf]]
-===Clouds Cheatsheet===
-by ???
 all the modes + parasites firmware modes
 [[Fichier:CloudsCheatsheet.pdf | CloudsCheatsheet.pdf ]]
-===Clouds Illustrated manual===
-by ???
-[[Fichier:Clouds_Illustrated_Manual.pdf | Clouds_Illustrated_Manual.pdf  ]]
-===Supercrysalis_memo_for_MI_Clouds===
-by mercutio
-[[Fichier:Supercrysalis_memo_for_MI_Clouds.pdf | Supercrysalis_memo_for_MI_Clouds.pdf  ]]
-==Emilie's notes==
-As for Clouds, I don't even know where to start! As a module designer, it's very frustrating to see that it has become popular for all the wrong reasons. It seems to me that for a large number of people the trajectory is: "ohh I feed audio into it and it makes ambient-ish muddy sounds on the out. (later) I'm tired of the muddy sounds, let's install the alternative firmware and see if it can do more". The key to use this module is to feed random source into its CV inputs to randomize the grain parameters (otherwise all grains are the same and wow, you're stacking 40 delayed versions of the same audio signal... no wonder it's muddy). Any "granularizer" plug-in will have randomization built-in, but Clouds doesn't have any randomization built-in because hey, it's a module, you're supposed to make it happen with external modulations... Here's an example of interesting use of the module - creating chords from any oscillator. https://www.youtube.com/watch?v=gSdmQ08JUGM. Another completely different sort of game is to have gate/trigger patterns in the FREEZE and TRIG inputs for stuttering/glitch effects. Yet how many times I've seen Clouds without any other connections than IN L, OUT L and OUT R...
-There's a lot of negative influence from the "VST culture" - people considering that one module = one virtual instrument or one module = one effect. I'm partly responsible because I tend to add to each of my modules the extra ingredient (an internal modulation, an internal VCA, an internal exciter...) that allows them to be played on their own in a small system. But they acquire all they value when they play a role within a larger patch...
 ==liens==
@@ Ligne 82 : / Ligne 58 : @@
 clouds/parasites reference guide : https://drive.google.com/file/d/0Bx2WGFW47ykbSXJRNEFwRHhBN1E/view
-== Tago Mago Notes ==
-Q i’m wanted to see what other mod63/
-sequence
-tuning
-this
-EG
-then
-so
-position
-variety
-and
-do
-send
-to
-sounds
-the
-the
-variation
-since
-way
-immensely,
-for
-even
-little
-grains
-about
-me
-complete
-Clouds
-folks have found most useful in
-pairing with the clouds.
-R
-VCAs. For example, Veils.
-Many times I’ve seen beginners getting
-started with Eurorack, getting
-a Clouds and all kind of stuff but
-no VCA, because they think of the
-VCA as the final stage of a subtractive
-synth, what you plug your VCF
-in. Terrible mistake!
-I apologize to the guy to which I
-originally wrote the blurb that I’m
-reposting here, for breaking the privacy
-of an email conversation, but it’s
-something I found myself explaining
-dozens of times:
-Let’s say you’re processing a sound
-with Clouds.
-Now you want each grain to have a
-different transposition amount, between
--1 octave and +1 octave. To do
-that, you send a random signal (eg:
-white noise) going between -1V and
-+1V to Clouds’ V/O input. So all the
-grains are at a random pitch, producing
-a very chaotic swarm of sounds.
-Now you want the signal to progressively
-reach a state where all the grains
-are almost in unison (a bit like the
-THX sound). To do that, you’ll need
-a VCA, controlled by a slow envelope
-or by a ramp down LFO, to reduce the
-amplitude of the noise towards 0.
-More generally, every time you play
-with an attenuator / attenuverter on
-a module and say to yourself “it would
-be cool if I could use an LFO to do this
-automatically”, you’ll need a VCA
-controlled by this LFO to animate the
-modulation amount.
-This is particularly important with
-Clouds which does not have attenuverters
-on its CV inputs. If so far, the
-only CVs you’ve thrown at Clouds
-were full scale signals, you’ll suddenly
-discover a new world of sounds by
-sending low amplitude signals - to
-add subtle randomization and variety
-to the grains rather than getting
-them to play through the full range
-of the transposition, size or position
-parameters.
-Of course, an attenuator or attenuverter
-will also allow you to get there
-and explore subtle modulations, but
-with VCAs, you can now automate
-the movement from intense to subtle.
--------------------
-Here’s what I do to make a nice subtle
-drone (which I do a lot):
-* Use one LFO to modulate slowly
-(10 seconds or so?) through the
-buffer, input to position. Maybe use
-Maths channel 1 in cycle mode for
-this. Set Clouds position knob to 0 if
-the LFO output voltage is only positive,
-attenuate if it’s above 5V or so.
-* Set Maths channel 4 cycling also
-quite slow, tweak rise and fall so that
-EOC LED goes off very shortly (<0.5
-out of 5 seconds or so). Connect
-channel 4 output to Clouds freeze
-input.
-* Size to 75% (maybe modulated
-with attenuated LFO).
-* Texture to 75% (maybe modulated
-with attenuated LFO).
-* Blend + Stereo to 100%.
-* Set pitch, feedback and reverb to
-taste.
-* Put any audio into the input
-(maybe your favorite MP3 song),
-make sure gain is not too high, keep
-the 4th LED off. Don’t stop the audio
-feed.
-What this will do: grains out of different
-positions of the buffer will be
-heard back and forth, now and then
-new audio will be added to the buffer.
-----------------------
-Clouds Parasite
-Clouds Parasite is an alternative
-firmware for Clouds. It adds the following
-main features to the module:
-The Oliverb, a new, full-featured
-creative reverb mode based on the
-reverb of the original firmware (itself
-based on a description of the Lexicon
-L), and inspired in design by the
-Erbe Verb, with CV control over all
-parameters. It is largely modeless,
-probably unrealistic and goes far beyond
-your traditional reverb;
-Resonestor, a polyphonic resonator
-processor with built-in support
-for your beloved Karplus-Strong
-synthesis. Plucked or fed with your
-favorite sound, it spits out strange
-guitar sounds, lush chords, evolving
-drones, and more.
-More envelopes for your grains: the
-Texture knob allows to select ramp
-down or ramp up-shaped grains.
-Square-shaped grains have steeper
-edges for extra glitch;
-Availability of much smaller grains
-compared to the official firmware,
-and asymmetrical grain envelopes
-(saws, ramps).
-Enhanced looping delay and time
-stretcher modes: tempo syncing with
-clock multiplier/divisor, support for
-stereo delay (ping-pong delay) and
-(crude) open feedback loop, much
-improved sound quality, faster delay
-time change.
----------
-The procedure to access the unofficial
-modes was a bit convoluted
-(hold button 1 and press button 2) -
-and could be easily confused with the
-calibration procedure (hold button 2
-and press button 1). The units which
-have been shipped to dealers have
-an additional “secret handshake”
-for the extra modes which is easier
-to remember: just hold the button 1
-(BLEND MODE) for five seconds.
---------------
-Parameters in spectral mode:
-POSITION = selects in which buffer
-the audio is poured (when FREEZE is
-not active), or from which buffer the
-audio is synthesised (when FREEZE
-is active).
-Example:
-Set POSITION to minimum value.
-FREEZE. You get a first texture. Set
-POSITION to maximum value. UNFREEZE.
-Wait for something else
-to happen in the incoming audio.
-FREEZE again. By moving POSITION
-you interpolate between the
-two textures which had been captured
-at the press of FREEZE. Depending
-on the quality settings there
-are 2 to 7 buffers laid out on the
-course of the POSITION knob. So
-it’s a bit like morphing between FFT
-slices.
-SIZE = change the coefficients of a
-polynomial that determines how fre64/
-quencies are mapped between the
-analysis and synthesis buffers. It’s
-like a 1-knob GRM Warp. Over the
-course of the knob it’ll do spectral
-shifting, but also spectral reversal.
-PITCH = pitch-shifting.
-DENSITY determines how results
-from the analyzer are passed to the
-resynthesizer. Below 12 o’clock,
-there’s some increasing probability
-that a given FFT bin won’t get updated,
-causing a kind of partial freeze.
-After 12 o’clock, adjacent analysis
-frames are increasingly merged together
-(like a low-pass filter in the
-amplitude each frequency bin). At
-extreme settings, random phase
-modulation is applied to smooth
-things - giving you different flavours
-of spectral muddling/reverb.
-TEXTURE does two things: below
-o’clock, it increasingly quantize
-the amplitudes of the spectral components,
-like a very low-bitrate audio
-file (a long time ago I loved making
-super harsh noise textures by loading
-text files as raw audio files in an audio
-editor... then encoding as mp3 or real
-audio with super low bitrate to make
-it sound like some underwater brian
-eno). After 12 o’clock, it increasingly
-weakens the strongest partials and
-amplifies the weakest ones. This has
-the effect of making the spectrum
-more noise-like.
------------------------
-Using Clouds as an external effects
-send on a Kontakt piano (The Giant)
-was the starting point. Clouds
-is in regular granular mode, with the
-pitch knob almost all the way CCW,
-and Texture at about 1 o’clock, and
-Size at about 3 o’clock. There’s some
-reverb and delay feedback, just to
-glue things together a bit, but nothing
-over the top.
-To make things a bit more dynamic,
-I patched a pink noise source into
-Density and then took the same noise
-into a sample & hold, and trigged the
-sample from the note trigger from
-the keyboard driving Kontakt. The
-S&H output drove Position. This was
-all done in Oscillot in Ableton Live,
-rather than out in the modular rig - I
-just fed the noise sources out through
-a MOTU Ultralite.
-This gave me a way of getting a different
-“feel” to the grains for each
-note, rather than it being a kind of
-static, delayed tone. I was looking for
-texture, rather than tones - which I
-guess is the point of a “Texture Synthesizer”.
--------------------
-Q quick question re clouds, I
-haven’t
-even used mine yet and I’ve had it in
-my rack a month or more, can someone
-tell me can I send it a trigger and
-it trigger the entire sample that’s in
-the buffer..? how do you set this up
-if so..?
-RS
-o: you have audio in the buffer, because
-when you pump audio into
-it, there’s always audio in the buffer
-(when I say ‘buffer’ we mean the
-“live” RAM of Clouds - not the saved
-memories). If you FREEZE this audio,
-no new audio is put into the
-buffer - the buffer is literally held as it
-is. (You’ll need to freeze it if you want
-the sample to play back, rather than
-be overwritten by new audio).
-Then: if you set DENSITY to 12
-o’clock, so that no grains are sown,
-when you put a trigger in on the
-TRIGGER input, a single grain will
-be sown. If you make the SIZE of that
-grain big enough, and put the POSITION
-to the very beginning, you’d
-have something that played back a
-sample.
-Really, though, it’s not as good at
-playing back the contents of the
-buffer on demand precisely as it is at
-playing them back vaguely/interestingly/
-smeared out. So for instance:
-you could also make the grains small
-and fire a burst of pulses using a burst
-generator/function generator. Or fire
-a square wave LFO at it, opening the
-LFO on demand with a VCA. Etc, etc.
---------------
-) If you’re going to modulate any of
-the CV inputs, make sure you have
-some attentuation happening in between.
-Extreme CV’s will cause the
-settings to slam again each of the far
-ends of their reach when what you
-really want is to create more subtle
-movements (this applies especially to
-Density and Size).
-) Be mindful of pitch settings. Depending
-on your audio source, it can
-get a little sloppy sounding if you’re
-just keeping a static blend of the
-source material and the grains that
-Clouds is producing. Since the pitch
-knob is quantized, it’s easy to find
-pleasing little “plateaus”.
-) Use feedback sparingly. I almost
-always have it set low or completely
-off as I find it often sets the grains off
-into a more unpredictable trajectory
-(if that makes any sense).
-) Texture is your friend. The two
-far extremes of this setting are exactly
-that...extreme. Fully CW and
-the grains start to stretch like taffy
-(you may actually want this for pads,
-etc), fully CCW and the grains can
-be pretty harsh. Again, I find that setting
-Texture to just before the really
-smeary to be the most pleasing (to
-my ears, at least).
-) If you’re looking for washed
-out, though, the reverb setting will
-definitely help. Don’t go too deep,
-though. A little goes a long way.
--------------------
-I really like sending audio rate modulation
-to Position in granular mode.
-My sweet spots tend to be Position
-- anywhere, Size - between 1 and 5
-o’clock, Pitch - noon, Gain - wherever
-needed, Density - between 9 and
-:45 o’clock (or 12:15 and 3), Texture
-- between 9 and noon, Wet/Dry
-- 100% wet, Stereo Spread - as needed
-(stereo is a must with Clouds), Feedback
-- as needed but usually none or
-just a bit, Reverb - as needed. I’ll often
-mult out the incoming signal to have
-a dry signal, or to send it to another
-effect/filter or whatever. Works better
-for me than using the wet/dry knob,
-which I do love the new behavior.
-All of the different modes and Parasite
-firmware are worth exploring.
-My favorite mode (outside the
-granular stuff) might be the looping
-delay mode. I almost always
-drop the quality down to one of the
-/73
-you
-can
-you’re
-the
-that
-pitch
-find
-completely
-trajectory
-and
-pads,
-setting
-washed
-deep,
-modulation
-mode.
-Position
-wherever
-and
-Texture
-often
-another
-Parasite
-exploring.
-looping
--bit modes. At 100% wet and Position
-(delay time) and Feedback at
-, you have this bit reduction, Lo-fi
-mode going on. There’s a lovely flavor
-of “tape hiss”, the filter (Texture)
-and when you crank the gain you
-get some awesome distortion (see r
-beny track called Wilt for an example
-of this). With longer delay times,
-the pitch starts to warble in a pleasing
-way. There are some sweet spots
-with Feedback, right before it starts
-to feedback into noise, where it will
-repeat for a very long time, but slowly
-decay the repeats into a blur. Really
-fun for some Basinski-like tape
-degradation.
---------------
-As the title suggests, this is actually
-three Clouds used in series. If
-I remember correctly, it’s Parasites
-Resonestor mode, into standard
-Clouds Granular mode, into Parasites
-Oliverb mode.
-The one that’s handling the granular
-functions is probably set to what
-I like to refer to as my “zero point”.
-Basically, I’ll have it in the second
-audio quality setting, have position
-set back to ~2:00, keep grain Size
-fully CW, and texture just right before
-the last algorithm (slight smearing
-of the grains, but not to “gauzy”).
-From here, I’ll often set the pitch to
-a higher quantized interval/octave
-of the incoming melody/sequence/
-whatever sound to give it a more
-“harmonic” feel. CV’ing the Density
-will then give it movement. I’ll often
-used an attenuated (very important)
-slow random sine from Peaks for that
-purpose. Also, Blend is generally set
-right at 12:00, stereo spread fully CW,
-feedback at zero, reverb set to just beyond
-:00.
-Though, keep in mind, the Clouds
-that’s set to Oliverb is doing a lot
-of the heavy lifting in the example
-above. That’s creating more of the
-shimmery space that you hear wandering
-around. I no longer have the
-third Clouds, but I often use Granular->
-Oliverb chain in my patches.
-So here are the takeaways:
-) If you’re going to modulate any of
-the CV inputs, make sure you have
-some attentuation happening in between.
-Extreme CV’s will cause the
-settings to slam again each of the far
-ends of their reach when what you
-really want is to create more subtle
-movements (this applies especially to
-Density and Size).
-) Be mindful of pitch settings. Depending
-on your audio source, it can
-get a little sloppy sounding if you’re
-just keeping a static blend of the
-source material and the grains that
-Clouds is producing. Since the pitch
-knob is quantized, it’s easy to find
-pleasing little “plateaus”.
-) Use feedback sparingly. I almost
-always have it set low or completely
-off as I find it often sets the grains off
-into a more unpredictable trajectory
-(if that makes any sense).
-) Texture is your friend. The two
-far extremes of this setting are exactly
-that...extreme. Fully CW and
-the grains start to stretch like taffy
-(you may actually want this for pads,
-etc), fully CCW and the grains can
-be pretty harsh. Again, I find that setting
-Texture to just before the really
-smeary to be the most pleasing (to
-my ears, at least).
-) If you’re looking for washed
-out, though, the reverb setting will
-definitely help. Don’t go too deep,
-though. A little goes a long way.
----------------------
-The key to use this module is to
-feed random source into its CV inputs
-to randomize the grain parameters
-(otherwise all grains are the
-same and wow, you’re stacking 40
-delayed versions of the same audio
-signal... no wonder it’s muddy).
-Any “granularizer” plug-in will have
-randomization built-in, but Clouds
-doesn’t have any randomization
-built-in because hey, it’s a module,
-you’re supposed to make it happen
-with external modulations... Here’s
-an example of interesting use of the
-module - creating chords from any
-oscillator. https://www.youtube.com/
-watch?v=gSdmQ08JUGM. Another
-completely different sort of game is
-to have gate/trigger patterns in the
-FREEZE and TRIG inputs for stuttering/
-glitch effects. Yet how many
-times I’ve seen Clouds without any
-other connections than IN L, OUT L
-and OUT R...
-----------
-- play some varied audio into the
-buffer - an arpeggio is good because
-you will know where you are in the
-loop
-- press freeze - this retains the last 4
-seconds of what you played
-- turn position fully counter clockwise
-- this now means the play point
-of clouds (imagine a tape head) is at
-the end of the recording.
-- Now put a slow sawtooth LFO into
-the position socket. This will then
-move the position from the start of
-the buffer to the end at the speed of
-the LFO.
-- Put grain density a little bit left of
-centre until you start to hear individual
-grains come out. Every grain
-will be from a different position in
-the buffer because you are modulating
-position, and because you are using
-a sawtooth LFO, this will play the
-buffer back in the same direction you
-recorded it.
-- So you will end up with a series of
-fragments of the original recording
-in sequence
-- play with the size knob to make the
-grains smaller or larger and you will
-start to hear more of the original.
----------
-QC
-louds’ buffer is constantly being fed
-by the incoming audio, using triggers
-or gates to rhythmically freeze
-the buffer continuously will build up
-a “cloud” of audio that’s an accumulation
-of the sounds that have been
-fed into the buffer and smeared together.
-This cloud becomes an evolving
-foundation that incoming sounds
-play with or counterpoint to and then
-become as they are fed into the buffer
-/73 and smeared.
-I was doing this with delay by using
-feedback that would hold things long
-enough to let them smear but eventually
-let things pass - the in between
-time is the space in which the structure
-created itself.
-Using Clouds, this worked well for
-me by 1) feeding a song/audio with
-different sounds (actually with the
-delay it was an infinite delay of a filter
-resonating, which was basically an
-oscillator) 2) using triggers to freeze
-the buffer at fairly quick intervals 3)
-modulating position and size, along
-with the blend of the dry/wet 4)
-having enough feedback and reverb
-to smear the sound but not create a
-mud blob
-Clouds makes this interesting because,
-with the position and size (as
-well as obviously texture and density)
-randomly modulated, the sounds
-that get frozen and smeared create a
-variety of artifacts as they enter that
-space.
-R Smearing is only one extreme of the
-granular synthesis, it occurs when
-grains are either long, have a flatter
-(longer envelope) and are many at
-the some time with a similar content
-and pitch. Typically composers like
-Curtis Roads or Vaggione tries to
-avoid smearing and either have
-- Smalll grians
--Variable pitch
--Sharp envelopos
--MANY GRAINS
-or
--long grains
--time stretching the underlying audio
-- not many at one time
-Naturally you can combine a large
-slow grain with faster grains, the long
-grain is then a backdrop. Since digital
-grains of the slowed down long variety
-tends to be harmonically complex
-it often sounds smeared to have
-several of these at the same time.
-The idea behind granular synthesis
-is to take a sample.. modulate speed
-(and ther by pitch, one can also slow
-a sample without altering pitch by
-quickly looping, a loop a a few MS
-the move the loop over the sample
-(clouds don’t do this.. (or??)), apply
-envelope over the sample, that creates
-one grain. The character of the
-grain varies depending on the underlying
-sample, how that is treated
-(slow, fast, freezed) and the shape of
-the envelope. The cloud gets it character
-from the individual grains and
-the density of the grains..
-So most composers that use granular
-synthesis strives to avoid to much
-smearing and Roads and Vaggione
-composition are often crisp and very
-dynamic.. and THAT is what i try
-to achieve with clouds AND other
-modules.. OK smear can also be cool
-when you get a ghostly whisper or
-dragon breath sound.. so to me the
-great thing with Clouds is that you
-can, if you want, avoid the smear..
-and go for crisp and edgy..
---------------
-A-118 colored noise --> Clouds in L
-A-118 random --> Clouds size
-Disting sine wave --> Clouds in R
-Grids trigger 1 --> Clouds trigger
-Grids trigger 2 --> Clouds 1V/oct
-Grids trigger 3 --> Clouds texture
-Grids accent 1 --> Clouds panning
-blend
-Key settings for Clouds:
-Granular mode
-Density at 12 o’clock
-Dry/wet blend fully clockwise
-Size between 7 and 9 o’clock
-==videos==
-https://www.youtube.com/watch?v=cy34cBwM-Uo&list=PL54NASqAHmsRHRedsHZtW2QLKNsgGpmhu
-== Calibration ==
-To calibrate the unit:
-*Disconnect all CV inputs.
-*Connect the note CV output of a well-calibrated keyboard interface or MIDI-CV converter to the V/OCT input.
-*Press the Load/save button, and while you hold it down, press the Blend parameter/Audio quality button. The first 2 LEDs will blink in orange.
-*Play a C2 note, or send a 1V voltage from your CV source.
-*Press the Load/Save button. The four LEDs will blink in orange.
-*Play a C4 note, or send a 3V voltage from your CV source.
-*Press the Load/Save push-button.
-Calibration is done!