12/31/2023 0 Comments Sound Particles Density instal the newIn testing Dust, we try it out as a separate track on a project with pre-existing instrumentation but one that is crying out for some kinetic textures. Not just a granular synth, but an intriguing and rewarding hybrid that successfully merges ‘analogue’ and digital techniques. Sounding every bit as good as it looks and truly endless in its potential, Portal is one of the greatest effects plugins ever made. This yields the creation of all manner of unusual, otherworldly spaces. There are a plethora of pre-loaded organic sound sources to lean on here, and you can install your own audio files as an impulse, too. If you hunger for complete originality, however, you can easily just import your own samples and start from scratch.Īnother unique string to Dust’s bow is the nature of its in-built Convolver reverb, which, as a convolution, takes its characteristics from audio files rather than algorithms. There’s a plethora of pre-loaded organic sound sources to lean on here, and you can install your own audio files as an impulseīut of course, SoundMorph hope you’ll stimulate these sounds in new directions, inviting you to work up your own never before-heard aural mutations. These pre-tailored sounds oscillate wildly from the bleeping ominous menace of Ivanov’s Exorganis to Clouth capturing what seems like the aural equivalent of vertigo with Creaking Chasm, while Devine’s contributions encompass effective, scene-setting ambiences such as Junction Drone among some nuanced, more subtle sonics such as Shimmer Matter.Īnother unique string to Dust’s bow, is the nature of its in-built Convolver reverb, which, as a convolution, takes its characteristics from audio files rather than algorithms. Speaking of starting points, Dust comes jampacked with a rich and varied sample library, with presets provided by the ever-ubiquitous Richard Devine and electronic musician Robert Clouth, alongside Glitchmachines’ founder Ivo Ivanov and Soundmorph co-founder Yan David. ![]() Though we’ve seen granular synthesis plugins that provide similar complex grid positioning (Glitchmachines’ Palindrome for example) Dust emboldens users to set sounds in motion and explore just where our starting points can end up. It’s useful to know how to fix these settings should you stumble upon something out of this world, and saving your own presets is a fairly smooth process. This area also grants you tweaks to speed, age (the fraction of the age of the particle) and to provide a random element to be assigned to a particle at birth, furnishing us with unforeseen results. The Sequencer options provide control of the sequence length direction and rate as well as whether it’s tempo-synced or not.įinally, the Particle Property allows for more precise control over the particles, though many of their positional values can be fine-tuned by simple mouse dragging within the central UI. The LFO options encompass the LFO shape, type, tempo, rate of oscillation, phase, pulse width, oscillation scale and offset, while MIDI allows you to map the parameter to the incoming MIDI note, and by its velocity if required. There are four main modulation options within Dust, and simply right-clicking on the specific parameter’s dial control opens a modulation panel where you can alter the parameter’s LFO, MIDI, Sequencer and Particle Property. Regardless of the fact that all of Dust’s parameters can be set manually, modulation invariably produces a much more dynamic sound. The UI is reminiscent of an old-school arcade game. The drag-and-drop simplicity of this setup is fun to play with, and affecting the flow speed has an irresistibly satisfying quality about it. ![]() ![]() The various Particle Emitters and small Effectors – which can magnetise particles towards them, or repel them at great speed – can be dragged around at will, with a huge range of parameters available for each, including the speed and direction of the sound particles from an emitter. Visually, everything orbits a crash test dummy head at the centre of the virtual environment, which also highlights Dust’s 3D audio chops (though output is frustratingly still simply 2 channel). If that all sounds head-scratchingly complex, you’ll be relieved to know that the logic of Dust becomes clear after just a few minutes – though it takes a bit longer to figure out exactly how to achieve certain things. The possible sonic scope here is fairly vast, with sound being spawned by the plugin’s own library of samples, triggered by MIDI or Sequencer, or – if used as an insert effect – via your track’s audio.
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