Any goodwill attached to those brands rest with the brand owner. The processing power to carry out such tasks is immense, and the first computer-based granulating software were decidedly non-real-time applications, processing a signal or creating a waveform, granulating it, and then rendering a processed file. To the uninitiated, the world of synthesis can be a very confusing landscape. Quanta updates and simplifies granular in an exciting way and offers some very different and incredible sounds. Following a recent stylistic refresh, which discontinued some rather dated skeuomorphic designs in favour of new clean, geometric interfaces, Audio Damage have now delivered Quanta, their take on granular synthesis. We do not have a final price or release date at this time; there are still some things we need to tighten up, and we won't be shipping Quanta until it is solid as a rock.
The adoption of granular techniques into software synthesis seem to have cleared the way toward more widespread acceptance. Below the Shape dial is a pop-up menu with five playback directions. Once the sample is loaded, the large rectangular window presents a rounded-off, stylized overview of the waveform See Fig. Each one can be assigned infinite segments, easily configured by clicking the existing envelope line to create new breakpoints, which can then be dragged up or down to change their value. You can feed either or both oscillators into the granulation section and produce some pretty fat, animated tones without even resorting to the sample oscillator. Quanta has mod coming out its ears. So where does Quanta fit in? The controls here are very intuitive and you can easily see how every possible function is contributing to the finished product.
While all the modulation sources fit along the top of the window, the matrix view has to be scrolled vertically to see all the destinations. Mp3 Download Quanta Granular Synth By Audio Damage First Look Mobile? Threshing Grains The crucial engine driving Quanta is, of course, the Grains section. Typically, the shorter the grain, the more detectable is the overall pitch. Control Quanta is customizable to your taste and playing style. Pitching is handled by the Tune and Fine knobs, which between them deliver up to two and a half octaves of range up or down.
In addition, the oscillator and noise sources can be passed directly into the filter, bypassing the granular process altogether. There are just too many sound-shaping controls and functions to go into real depth here but rest assured that Audio Damage has you covered with an excellently written manual. No reverb or effects section. By reconfiguring its powerful features into a highly intuitive interface with more than a few clever twists, Audio Damage succeeds in making this somewhat arcane and often overlooked synthesis technique feel fresher than ever. Fully functional, works for 20 minutes at a time, and can not save. This audio is broken down into grains which you then simply manipulate in various ways to synthesise. Working these, the range of waveforms that can be defined is pretty much limitless.
This is a brilliant modulation matrix. With Quanta, I might have finally begun to cure my phobia of these synthetic and enigmatic beasts. Part of the modulation matrix. Think Different As promised, Quanta does indeed make granular synthesis easy and fun, and even seasoned synthesists should find its concise control set empowering rather than restrictive. There is no standalone version, so you will need a host application.
Because you can import your own samples, the possibilities are limitless. Granular synthesis may be one of the most interesting and, confoundingly, more difficult processes to achieve predictable results. At the current state of sampling, linear playback of audio content and looping forward, backward, or alternating portions of the recording are commonplace. Mp3 Quanta Granular Synth By Audio Damage First Look Songs Free Download? I would probably be lost without them. The analog and noise oscillators are not simply grafted onto the granulated sample; Osc In and Noise In knobs subject the modeled tones to granulation along with the sample section. The concept of chopping audio samples into very short component grains for the purpose of time stretching and atmospheric manipulation has existed for decades. Better still, even without being audible on their own and left entirely unaccompanied by audio content, both oscillators can be fed through the granular engine to rapidly synthesize otherworldly tones and textures without any sample loaded into Quanta at all.
Adding a subtle amount of randomization here thickens the sound up considerably. Their devices range from quirky a neuron-inspired percussion synth, a rotary beat-slicer, a step-sequenced multi-effects unit to indispensable a variety of elegant and nicely designed reverbs, choruses, filters and flangers. Quanta is a full-featured ten-voice true stereo granular synthesizer, with up to a hundred 1000ms grains per voice, and full control over the grain state, with direct randomization and modulation of most parameters. In a world gone mad for analog devices, acclaimed American developer Audio Damage has created a truly elegant virtual instrument designed to push the digital potential of granular synthesis to its limits, while ensuring it remains accessible for producers of all skill levels. Granular synthesis is the process of breaking up a sound into tiny grains which are then reconfigured and reorganized into a brand new sound altogether. Quanta has mod coming out its ears. With the Sync toggle engaged, each breakpoint is synchronized to a musical interval between a 32nd note and a bar, allowing for all manner of host-synchronized rhythmic trills, loping polyrhythmic dives, or simply measure-accurate slopes — a welcome concept surprisingly lacking in most contemporary envelope generators.
Next along from the oscillator and noise sources are the controls for the granular engine. If the patch already contains modulation assignments, an animated blue dot will sweep back and forth for each voice played, in addition to a blue vertical line that indicates the starting position of the oscillator Granulator more later. These are expanded by a wealth of randomization options and modulation routing that should have any advanced sound designer's mind racing with possibilities. You can load samples from a drop-down menu on the sample page, but dragging them from the finder is much quicker than navigating folders. Each of these, as well as the volume and grain playback direction controls, has an associated Random knob, used to vary that parameter for every generated grain within the dialled-in range.