Halo "smears" the sound and fills in the space between individual notes with a washy haze. The Mimeophon has three main areas of sound processing: The main "delay" section consisting of the Repeats, Zone, and Rate sections, Halo, and Color. While it is possible to consider the Mimeophon in terms of discrete parts, each section of the unit interacts with the others in significant-sometimes subtle, sometimes extreme-ways.
Make Noise modules can appear a bit cryptic at first, but the Mimeophon is for the most part intuitive, ergonomic, and most importantly, damn fun. Despite everything being fit into a modest 16HP, the Mimeophon feels great and retains an easy performability. In addition, the Mimeophon has a few buttons at the bottom labeled Flip, Hold, and Skew, a Tempo in for clocking the delay line, and a Rate output. The Mimeophon features of a pair of stereo ins and outs, a wet/dry Mix knob, and five main control sections: Repeats, Zone, Rate, Halo, and Color. Made in collaboration with SoundHack and billed by Make Noise as a "multi-zone color audio repeater," the Mimeophon blurs the line between delay module, effects unit, audio looper, and synth voice, and offers a veritable universe of sound sculpting possibilities. Julian.Continuing in the vein of Make Noise's latest module releases, the Mimeophon is a stereo module fitted with an attractive black panel and adorned with their trademark font and hieroglyphic labeling. Interesting bits were then chopped out and reassembled in Reaper. That window to the right allows you to draw pitch / speed information in real time and record the results, there's quite a bit of that going on in the final track.
#Similar to soundhack Patch
I have a custom patch in that that uses the Max/MSP object ports of the Gendyn Supercollider ugen:įairly long section was recorded using that patch (basically two or three fluctuating oscillators), that was then put through the granular synthesiser in ppooll, so the pitch variations you hear throughout the final track are a mixture of those in the original recording and those that are introduced by the granular synthesis process. Slightly tedious answer I'm afraid but that particular track is all computer generated, using the ppooll environment. chopping with a beat slicer, stick it hot through a compressor or some saturation, eq, then back to the start again. Taking some original content playing with the modulating the playback rate (pitch) and/or granular and/or FFT pitch shifter. One thing is that when the sample is taken down to very slow speeds, there is still high frequency content, so some reprocessing involved somewhere to add that in. not the tools themselves, but the skill in using them to sculpt the sound. Mostly it's the editing process though, ie. Maybe also some FFT stretching and shifting in there at times too.
Sound to me like some of the pitch changes are still correlated with playback speed changes here, so maybe not all granular of fft/phase vocoder, rather a mixture of that and complex editing just varying sample playback rate, sometimes continuously, and sometimes with glitchy discontinuities, then reprocessing the results, then again iterating multiple times. Hello, I was wondering what sort of processing you would go for to get a result like this one. Great recommendations! Thank you for these.
it's good sample fodder.Ĭan do a lot of weird shit like that w/things like Melodyne. the pitch changes etc get all stretched out to make those weird morphing sounds. take a 10 second sound that has some dynamics and pitch changes in it and stretch to be like 1 minute long. all have their own flavor.īut if you freeze a buffer and modulate the pitch of it w/an LFO you can get a lot of weird stuff from a granular plug in effect or synth.Īlso, you should experiment with extreme time stretching and listen to how it sounds. the walkthrough explains a lot and has sound demos.Īlso kentaro's devices are all excellent and he has some granular things.īut there's lot's of vst's too. it can do all those things you hear in the link you posted and many many more and lot's of of other weird shit. If you use ableton and have max for live i recommend Woulg's GrainSpec. many maxfor live devices that are granular or spectral do as well. Most granular plug ins i've used have a 'freeze' button. it's a common technique for those kinds of sounds. sounds more granular to me or simply timestretched audio that was resampled and played like a sample. I don't think the link you posted is spectral.
#Similar to soundhack Offline
I was thinking of the soundhack standalone app which has many offline processes for time/pitch/phasevocoding etc.
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