Tiptop Audio Grain de Folie Handleiding

Tiptop Audio Niet gecategoriseerd Grain de Folie

Lees hieronder de 📖 handleiding in het Nederlandse voor Tiptop Audio Grain de Folie (6 pagina's) in de categorie Niet gecategoriseerd. Deze handleiding was nuttig voor 46 personen en werd door 2 gebruikers gemiddeld met 4.5 sterren beoordeeld

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Grain de Folie

Granular Effects for Tiptop Audio Z-DSP

Grain de Folie - Granular Eects for Tiptop Audio Z-DSP

Background:

Granular Synthesis uses small slices of sounds (‘grains’) to compose new sounds from existing

material. By combining multiple grains of diering lengths, amplitude, pitch and speed creates

very characteristic sounds of modern music.

Xenakis claims to have invented the technique and indeed his ‘Analogique A-B’, composed of

tiny tape splices of pure tones, is credited as the rst piece of granular music in 1959. Tape

editing proved extremely time consuming, but by the 1970s digital processing could take the

place of tape splicing. Curtis Roads dove into the early computer based granular synthesis and

made some of the classic techniques known through his recordings, teaching and texts like

‘Microsound’. Today, most computer audio programs have some sort of granular synthesis

engine or plugin. Dr. Richard Boulanger has used granular synthesis in CSound to great eect

and he is also a beta tester for this card.

The French phrase for the cartridge is "Grain de Folie" which could be translated as "seeds of

madness", but in French "grain" also translates to "grain", and "madness" evokes the strange

disassembling/reassembling granular process. Also, "avoir un grain de folie" is a typically

French expression to describe people behaving in a non conventional way, thus a tting play on

words.

How it works:

Granular processing requires a block of memory to hold digital samples for playback, and the

Z-DSP has one second of memory for the audio used in processing. From this audio buer the

grains will sample smaller sections for playback.

The number of grains in the process determine how dense the overall output sounds. These

programs have 3, 4 or 6 grains for playback. Each grain plays from a random point in the audio

buer and have an independent envelope controlling their duration. The envelope time is the

‘grain size’ parameter in many of the programs.

In the context of the Z-DSP, the FV1 (the DSP brain) is really not designed for grain synthesis

(due to technical choices like a "circulating" delay memory, and the lack of indirect memory

access), but the chip also has other design niceties that help overcome its limitations…

This cartridge implements a simple and customised granular synthesis with a limited number of

grains, and parameters that mainly control the size of grains and their positions in the sample.

One nice aspect of the Z-DSP is that it uses live inputs (granular synthesis is usually based on a

pre-recorded sample), so it can disassemble live input and reassemble it in real-time into a

dierent order resulting in a (usually !) nice sonic transformation of both texture and the

rhythm.

Controls:

The left control knob and CV input has the same function on each program and controls how

audio is sampled into the granular process. There are four sections of this control:

O - Live input processing. Audio is continually fed through the delay line.

1-25% - Freeze buer. No audio is input to the buer delay line.

26-100% - Audio is put back into the buer from the grains. The higher the level the more

audio is fed back. High levels tend to create glitches in the output as it fades into nothing.

NOTE: When a program is changed or the Z-DSP powers on there is no audio in the buer

to Freeze, and no sound will be output. The Freeze+ control MUST be at 0 for a short time

to process any audio before freezing!

Programs:

1> Four Spread Grains 1

Four independent grains have a random playback position with control over the

length of each grain and the randomness of the position. Two grains are sent to

Left output and the other two to the Right creating a spatial spread.

VC-DSP1 - Live / Freeze / Feedback. See the Control section above

VC-DSP2 - Grain size. Sets the maximum size of the grain.

VC-DSP3 - Spread. Grain Dispersion.

2> Four Spread Grains 2

Four independent grains have a random playback position with control over the

length of each grain and the randomness of the position. The grains all have the

same size which lessens the stereo spread. This program is very useful for

rhythmic processing.

VC-DSP1 - Live / Freeze / Feedback. See the Control section above

VC-DSP2 - Grain size. Sets the maximum size of the grain.

VC-DSP3 - Spread. Grain Dispersion.

3> Pitch Modulated Grain1

Four independent grains have a random playback position with control over the pitch of

each grain (LFO modulates the pitch). Two grains are sent to Left output and the other

two to the Right creating a spatial spread.

VC-DSP1 - Live / Freeze / Feedback. See the Control section above

VC-DSP2 - Grain size. Sets the maximum size of the grain.

VC-DSP3 - Pitch. The amount of pitch shift applied to the grain

Product specificaties

Merk:	Tiptop Audio
Categorie:	Niet gecategoriseerd
Model:	Grain de Folie

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