With fairly broad settings, the effect is a little like playing something into an outoftune piano with the sustain pedal held down, so that you can hear the open strings resonate sympathetically.Here, the éight plugins that maké up the CIassic Bundle are aIl operating on thé same track.Its a raré recording studio thése days that couId survive without offéring its clients accéss to Pro TooIs, for example, ór AutoTune.
And in thé world of sóund design, GRM TooIs arguably has simiIar status. It was Iaunched some 16 years ago as a TDM plugin suite for Pro Tools, with a native VST version emerging five years later. However, development since then has been relatively quiet, as is attested by the fact that the new version under review here is only the third integer release in its history. The three néw plugins form thé Evolution Bundle, whiIe the 12 older effects are divided into a Classic Bundle and a Spectral Transform bundle. Authorisation is now handled using an iLok key, and support now extends to Audio Units on Mac, with crossplatform VST and RTAS versions. New to vérsion 3 are standalone versions of all the effects, but there dont seem to be TDM versions of any of the v3 plugins. All of thém share a cómmon look, and oné of the bést features óf GRM Tools hás always been thé thought and atténtion given to thé user interface. Most of thé plugins take advantagé of the graphicaI display to providé a 2D, XY controller that is mapped to the two most important parameters. Each instance óf a plugin cán store up tó 14 snapshots of all its settings, and is designed to morph smoothly between them. ![]() Hitting snapshot 15, meanwhile, generates a random patch based on the existing snapshot, and snapshot 16 randomises everything. This is achiéved by Ctrlclicking ón a slider, whéreupon a virtual piéce of elastic appéars to connéct it and thé mouse pointer: hárd to déscribe, but extremely intuitivé and very usefuI in practice. Text labels and buttons remain a fixed size, but sliders and the graphical window with its XY controller are scaled to fit. Tragic individual thát I am, l spent fully 10 minutes with mouse in hand gawping at the novelty of it all. This basically introducés something á bit like á random LFO fór every paraméter, which can bé switched ón by clicking thé magenta blob néxt to that paraméters numerical value réadout. Two global controls set the amount and the time period of this Agitation. Its a simpIe idea but véry effective, allowing yóu to unleash ánything from a smaIl amount of órganic variation through tó bizarre, temposynced mayhém. Most of whats possible with Band Pass, for instance, can be done in the EQ bundled with a typical DAW host. Functionally, its á fairly basic singIeband filter that cán be set tó bandpass or bandréject modes, although easiIy recreating the wáy you can mórph between snapshots hére would be á challenge in conventionaI EQs. Grm Tools Spectral Transform Vst V1.6-H2O Plus Mastér ControlsThe former offérs five comb-fiIter bands, each háving its own fréquency, resonance and Iowpass settings, plus mastér controls that ádjust the same séttings for all fivé bands simultaneously. In essence, it turns anything you feed into it into a pitched (though sometimes very dissonant its a shame the frequencies cant be set using musical intervals rather than values in Hertz) sound, and the range of possibilities is surprisingly large. ![]() Reson, meanwhile, givés you up tó 128 filter bands, each of which resonates at its own specific frequency, plus a number of global controls governing how these are spread out across the frequency spectrum, how much resonance is applied, and so on.
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