It works by using two different delays of the same buffered sound, and crossfading between the two. It’s designed as an abstraction so that it can be used as an object (a subpatch) within any other patch. It’s an abstraction that I regularly use when I want a simple delay, and want the ability to change the delay time with no clicks or pitch changes. This example shows my preferred method for changing between different fixed delay times. You can save this abstraction with a different name, such as tapoutxfade~. It will refer to a tapin~ object in the parent patch. So this example shows a modification of the delay crossfading abstraction, in which the tapin~ object has been removed, and in which the left inlet expects a ‘tapconnect’ message instead of an audio signal. That way, multiple copies of the abstraction could all refer to the same tapin~ object in their parent patch. So we really could modify our delay crossfade abstraction so that, instead of receiving an audio signal in its left inlet, it receives the message ‘tapconnect’. When tapout~ receives a ‘tapconnect’ message it refers to the memory in the tapin~ object above it. The way that tapin~ and tapout~ communicate is that when audio is turned on tapin~ sends out a ‘tapconnect’ message. However, that’s a bit inefficient in terms of memory usage because each subpatch would have its own tapin~ object, each of which would be containing the same audio data. Onstage, it’s an exciting and versatile effect to wield in order to deconstruct rhythmic material on the fly, conjure synthetic dronescapes or just add a pinch of digital character to your sounds.If we want to use the delay crossfading technique shown in the above example for multiple different delays of the same sound, the simplest solution is just to make multiple copies of that abstraction and send the same audio signal to each one. Recording this output in the studio gives you endless variation to work with. It’s easy to get lost tweaking parameters to create textures out of samples or transforming organic sounds into fields of digital pointillism. It has deep Push integration, with all parameters set up to be controlled via six menu banks. PitchLoop89 was designed to be playful and tactile, and the real fun starts when it’s used with Push or a MIDI controller. Modulating the position with either the LFO or the random button can create effects ranging from spacious pseudo-reverbs to strange rhythmical warping. The vibrato LFO can be set to either sine or square wave for smooth or robotic pulsation, and the position modulation LFO has seven waveform options including move – a smooth random movement. Playing around with freezing and unfreezing different audio signals can create shuddering glitches, jolting rhythms and fractured textures. The hold button lets you freeze and loop the audio of one or both of the channels. Other notable functions include a hold button, a vibrato LFO, and a position modulation LFO. Experimenting with different routing options in combination with different pitch shift settings can create fascinating outcomes such as rising and falling pitch patterns and complex cascades of feedback. Shape the sound of each channel with low pass and high pass filters, and play around with the routing options – L/R keeps the channels independent, Sum combines both signals, and Cross sends each signal into the opposite pitch shifter channel. The two pitch-shifting devices can function independently, or as a single stereo effect, and new filtering and feedback routing enhancements allow control over sound that wasn’t possible with the DHM 89. Changing the speed and direction of playback in the delays allow for pitch shifting and segment reversal. In the original hardware this was due to a RAM limitation, but it’s now a creative feature, as switching between sample rates creates octave jumps, and low sample rates can change the character of the sound and create interesting sonic artifacts. These circular delays hold short snippets of audio, the length of which changes according to the bandwidth selected. The device contains two independent pitch-shifting delays. PitchLoop89 takes its cues from the hardware, preserving some original limitations for creative reasons, while making some contemporary enhancements for sound control, versatility and performability. The DHM 89 pitch-shifting delay unit was released in 1979 by the French manufacturer Publison. Experiment with the vintage digital charm of a classic piece of hardware without having to track down and invest in the original.
0 kommentar(er)
