Depending on how far you go up or down with the tempo, the loop you’re stretching could sound right or real choppy. In Pro Tools/Cubase nowadays they have things like elastic audio, so you can create warp points (just like Recycle/Ableton) and it is able to adjust the loop to the tempo you set without changing the pitch. The only difference is that this isn’t really time stretching because it speeds up or slows down what you pitch. My “time stretching” is typically done on the MPC by Up pitching or down pitching whatever I have on the pads to meet a certain length or just change the sound. I personally use Time Stretch when I’m doing Post production work (sound FX for movies) because it helps keep timing/pitch, but that’s the only time I really use time stretch/elastic audio. Below is Castro’s post, followed by my reply. In a TBC ( The BeatTips Community) thread about drums, core TBC member Castro Beats offered up a great breakdown of the differences between Time Stretch and Pitch Shifting. Follow and Sync operations on Side B for ease of use in dual oscillator patches, tuned FM, hard sync sweeps etc.Clarity on Oft-Misunderstood Timing Concepts By CASTRO BEATS and AMIR SAID (SA’ID).Sine and Sub operate independent of FM Bus modulation.Sub-Oscillator/CV outputs give access to unique sub-oscillator shapes, envelope following, or clockable modulation sources.High definition internal Frequency Modulation Bus with easy access to Harmonic Ratios via the Tuning Beacon.Each of the two VCOs operates independently in SAO or SAM, in any combination.Spectral Array Oscillation (SAO) creates spectral oscillations based on stored sets of spectra called Arrays, which are created in the SAM mode.Spectral Amplitude Modulation (SAM) creates spectral oscillations based on continuous analysis of the audio at the input.Built on Make Noise’s new digital hardware platform, the most powerful digital module we have yet created.Dual Digital VCO with eight simultaneous outputs, as well as two audio inputs, two gate inputs and ten CV inputs.The two sides can also interact via the internal FM Bus, the Follow and Sync modes, and by patching them together. In either mode (SAM or SAO), the Partials control works as a combined amplitude and timbre gate for the Odd and Even harmonic output and the FM Bus will create high definition internal frequency modulation from the opposing side of the Spectraphon. The Slide and Focus controls are mode-dependent: in SAM, they determine how the Spectraphon responds to sound at the input for Spectral AM, while in SAO, they are used to modulate the Array. At any time the current spectrum can be used to create an Array for later use in SAO mode where the Spectraphon oscillates at all times, with the spectrum at the Odd and Even harmonic outputs being drawn from those stored Arrays. In SAM the Spectraphon can be sequenced and frequency modulated like any VCO. In SAM, instead of oscillating at all times like an analog VCO, sound at the Spectraphon’s input is used to modulate the amplitude of a set of harmonics. The Spectraphon has two nearly identical sides, A and B, which oscillate in one of two ways: Spectral Amplitude Modulation (SAM), or Spectral Array Oscillation (SAO). This hardware, engineered by Jeff Snyder and Tony Rolando, provides more i/o at higher resolutions, and a lower noise floor than we have ever had access to in a digital module, allowing us to unleash Tom Erbe’s DSP code to a previously unattainable degree. The Spectraphon is the first module to be built by Make Noise on its new digital hardware platform. It is inspired by classic electronic musical instruments of the past, including spectral processors, additive synthesis, vocoders, and resonators especially the Buchla 296 and Touché, but it takes a physical form more resembling the classic analog dual complex oscillator in the lineage of the Buchla 259 and the Make Noise DPO. It uses real-time spectral analysis and resynthesis to create new sounds from those that already exist. The Make Noise/soundhack Spectraphon is a dual Spectral Oscillator coded by Tom Erbe of soundhack. Telharmonicmanual-japanese.pdf īlackandgoldsharedsystemplus.pdf
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