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I N S T R U M E N T S

 

If we often think of composing sounds in space by spacializing audio files, I generally find it a better way to include the space mass processing at the heart of the sound creation stage.
Perhaps is this because I have spent a lot of years in the nineties to "write" my sounds in space with samplers (Ensoniq ASR10, Roland S770, Kurzweil K2000...), but it remains today for me the most "natural" and, above all, efficient way to obtain interesting space objects.
So, these "instruments" are mainly sample players, which are not very sophisticated in this domain (no multisampling) but that include the same spatilization modules as in the Space Mass series.
They can be thought and used like brushes for a painter (there is even a PenSampler series), the most important thing being how the gesture can traces the matter into space, how the two can be linked with using standards - or less standards ! - controllers.

Some other tools that are gathered at the bottom of this page may seem to be far from the "instrument" definition : they cannot be played with a keyboard. But, on the contrary of the Effects series, they all play and process audio files and make an important use of controllers gestures.

 

Cinema (2D/3D)

Dome (2D½)

Ring (3D)

Grid (2D/3D)

Stage (2D)

S p a t S a m p l e r

 

These first ones are rather basic, but they share a few features that are for me essential : wide range pitch, sample start modulation, multimode filter, and of course some way to control at least the site of the space mass. There is no sophisticated envelopes, and if there can be several LFOs, I relay mainly on direct MIDI CC modulations.
The included spacialization section comes directly from the SpatSurround series, from which they share the GUI and the features. The sample just takes here the place that is usually devoted to the audio track, the benefit here being to play both simultaneously.
The relationship between polyphony and spacialization can be of two types : Monophonic, that means that all the polyphony voices are mixed together (this is the default behaviour we generally find in multichannel samplers like Kontakt), or Polyphonic, in this case the spatilazation parameters occur at the voice level. Since this mode uses a lot more resources, you will find it only with the low channels' numbers versions. There is also for this the special PolySpatSamplers series (note : if the SpatSamplers are not fully MPE compatible, they nevertheless also benefit of independent pitch and pressure controls).
In some cases, you will find a slightly more advanced behaviour when the modulation sources (Envelope and LFO) can also control the spacialization parameters. In general, to keep the resources at a reasonable level, the polyphony is lower when the channel count is higher.

 

S p a t S a m p l e r   8 P Ext

 

- lecteur de fichiers wave mono en streaming, 16 et 24 bits (pas de limite de durée)
- contrôle et modulation des points de bouclage
- filtre multimode résonnant, 1 à 8 pôles
- trois enveloppes
- trois LFOs
- huit sorties audio, les positions des haut-parleurs sont libres
- modulation polyphonique de la position spatiale par les sources internes et MIDI (chaque voie de polyphonie possède sonr propre mouvement)
- 8 sorties auxiliaires avec modulation globale du niveau, pour placer des effets externes
- polyphonie 8 voies

 

 

1 > 8

Version : 0.9d

 

 

S p a t S a m p l e r   8 M

 

- deux lecteurs d'échantillons au format wave mono 16 bits (30 secondes maxi par échantillon !)
- modulation de la position des échantillons et des points de bouclage
- deux enveloppes
- trois LFOs
- deux délais, librement positionnables à l'intérieur des huit sorties
- réverbération stéréo
- l'amplitude et la fréquence de l'échantillon 1 peuvent être utilisés comme sources de modulation
- modulation de la position spatiale des échantillons et des délais par les enveloppes et LFOs

 

 

1 > 8

Version : 2.0h

 

 

S p a t S a m p l e r   2 D  1 6

 

- seize sorties dans un plan (2D), position libre des enceintes
- échantillons stéréo en streaming
- filtre multimode résonnant (12 / 24 dB)
- deux enveloppes
- deux LFO
- modulation du point de départ de l'échantillon et du début et de la longueur de la boucle
- boucle linéaire et inversée
- time-stretch en temps réel
- modes de liaison de la voie droite de l'échantillon
- portamento
- polyphonie seize notes, modulations spatiales monophoniques

 

     

 2 > 16

Version : 0.9f

version 16 M

 

 

S p a t S a m p l e r   2 D  3 2

 

 

- fonctions simplifiées : une seule enveloppe, un seul LFO
- contrôle direct par contrôleur MIDI des positions X, Y, Z
- polyphonie 16 notes
 

 

     

2 > 32

Version : 0.8

 

 

S p a t S a m p l e r   3 D  1 6  ( M  et  P )

 

- seize sorties dans un volume, position libre des enceintes
- échantillons mono en RAM (version M) ou en streaming (version P)
- filtre multimode résonnant (12 / 24 dB)
- trois enveloppes
- trois LFO
- modulation du point de départ de l'échantillon et du début et de la longueur de la boucle
- boucle linéaire et alternée (version M) ou inversée (version P)
- lecture directe du buffer avec modulation (version M)
- time-stretch en temps réel (version M)
- modulations polyphoniques de la position spatiale (version P)
- portamento
- polyphonie de six notes pour la version M (la version P est mono)
- les deux versions sont comprises dans l'archive 

 

    

2 > 16

Version : 2.0

 

 

S p a t S a m p l e r   H 1 8

 

- réglages de l'étendue spatiale pour chaque canal, plus un réglage global par niveau
- six courbes d'étendue spatiale
- échantillons mono en streaming sans limitation de durée (16 et 24 bits)
- filtre multimode résonnant, 1 à 8 pôles
- trois enveloppes
- trois LFO
- modulation du point de départ de l'échantillon et du début et de la longueur de la boucle
- boucle linéaire ou inversée, deux modes de réduction de clics
- modulation polyphonique de la position spatiale par les sources internes et des contrôleurs MIDI (la position est différente pour chaque note jouée)
- portamento polyphonique
- polyphonie de seize notes

 

2 > 18

Version : 1.0h

 

 

S p a t S a m p l e r   H 2 4 S T

 

- vingt-quatre enceintes réparties en deux niveaux compatible 22.2 : quinze au sol et neuf au plafond, les positions horizontales sont libres
- réglages de l'étendue spatiale pour chaque canal, plus un réglage global par niveau
- dix courbes d'étendue spatiale
- échantillons stéréo en streaming sans limitation de durée (16 et 24 bits)
- filtre multimode résonnant, 1 à 8 pôles
- trois enveloppes
- trois LFO
- modulation du point de départ de l'échantillon et du début et de la longueur de la boucle
- modulation polyphonique de la position spatiale par les sources internes et des contrôleurs MIDI (d'où une utilisation des ressources assez importante)
- portamento polyphonique
- fonction MIDI Learn
- polyphonie de huit notes

 

 

Version : 1.0a

 

 

S p a t S a m p l e r   3 2  / 4 2   C i n e m a

 

 

 

 

  2 > 32 / 42

Versions : 32

42

 

 

S p a t S a m p l e r   H 3 2

 

 

- 32 sorties, disposition "Anneau" par défaut
- fonctions simplifiées : une seule enveloppe, un seul LFO
- contrôle direct par contrôleur MIDI des positions X, Y, Z
- polyphonie 16 notes

 

   

  2 > 32

Version

 

 

S p a t S a m p l e r   H 3 2 M o d

 

 

- modulations des positions X/Y/Z par les LFO et Enveloppes
- monophonique

 

   

2 > 32

Version : 0.8

 

 

S p a t S a m p l e r   4 3  D

 

 

The Dome is represented as a three levels cylinder, with global Area and Spread settings for each level, making it very efficient for immersion but more difficult to play.

To do : space modulations with the envelope and the LFOs.

 

2 > 43

Version

 

 

S p a t S a m p l e r   4 3 - 2 D

 

 

2D compatible version, easier to play than the previous one.

To do : space modulations from the envelope and the LFOs.

 

     

2 > 43

Version

 

 

S p a t S a m p l e r   5 7 R

 

 

 

 2 > 57

Version 0.9

 

Special controlers versions :

 

S y l S a m p l e r   5 7 R

 

Special SpatSampler version to be played with a Sylphyo wind controller.

 

 1 > 57

Version 0.8

 

 

V o r t e x S a m p l e r   5 7 R

 

 

Special combined mass and alea version to be played with an Alesis Vortex keyboard.

 

 

2 > 57

Version

 

 

E w i S a m p l e r   5 7 R

 

Special SpatSampler version to be played with an Akaï EWI5000 wind controller.

 

 2 > 57

Version 0.9

 

 

 

 

 

M a s S a m p l e r

 

Like the MultiSamplers, the MasSampler uses 4 stereo samples to . They must be converted from 8 channels files with
- simplified sample player module
- grouped control of the 8 channel samples based on the SpatMass series module
- modulations

 

M u l t i M a s S a m p l e r   8 5 7 R

 

 

 

 

 

 8 > 57

Version : 0.8

 

 

 

 

 

P o l y S p a t S a m p l e r

 

These two "Poly" series are specialy made to be played with a Multidimensional Polyphonic Expression controller (MPE), such as the Linnstrument, the Seaboard Rise or the software touch controller Xotopad.
These controllers, and especially the Linnstrument, represent for me all what I have missed with the traditionnal keyboards : the possibility to forget the notes and concentrate on gestures, to control each event in a complex and subtle way, including its space mass.
The MPE mode provides for each MIDI Note three other controls : PitchBend, Pressure and "Expression". And why not, these three controls can be then mapped on the three space axis ;-) If the SpatSamplers are good to "draw" trajectories, it can lack for sublety
Basically, these Poly versions, like the "polyphonic" SpatSamplers versions, allow to associate a separated 3D panner with each note. But here each voice's spacialization parameter can be fine tuned and controlled. Of course, the polyphony must be limited , as much for the CPU resources as for the player ability : playing eight independant fingers is not bad at all !
They all have in common :
- 8 independant polyphony voices
- all the modulations, including the 3D spacial position can use the XYZ fingers positions polyphonically 
- the height value is represented both by a vertical slider and variable width dot on the 2D view
- 1 multimode filter (LP, HP, BP, Notch) with resonance and variable order settings
- 2 envelopes, one specifically tailored for amplitude control
- 3 LFOs, one being global for all voices
- MultiSample mode : use one different sample for each polyphony voice !
- graphical keyboard only for notes monitoring

 

P o l y S p a t S a m p l e r   1 3 . 1

 

Characteristics :
- up to 14 outputs
- output channels matrix for 5.1 / 7.1 / 9.1 / 11.1 / 13.1 allocation
- simple bass management


 

 2 x 5.1 to 13.1

Version

 

 

P o l y S p a t S a m p l e r   C i n e m a

 

 

HiRes Cinema 3D layout.

 

1 to 8 > 42

Version alpha

 

 

P o l y S p a t S a m p l e r   8 4 3 D

 

 

Idem, with a Dome layout.
There is a special Area spread parameter for improved immersion.

 

1 to 8 > 43

Version : 0.8

 

 

P o l y S p a t S a m p l e r   8 4 4

 

 

Idem, with a Ring Layout.
There is a special Area parameter for the middle center point.

 

1 to 8 > 44

 

 

 

P o l y S p a t S a m p l e r   8 5 7 R

 

Idem, with a Grid layout (Ring compatible channels mapping).

 

1 to 8 > 57

Version 0.9

 

 

 

 

 

P o l y M a s S a m p l e r

 

On the contrary of the previous ones, the PolyMasSamplers don't allow to move each note independantly in the 3D space. In place, the X/Y/Z MPE controllers can modulate the "classical" SpatMass global parameters. It can be easier to control and less "aleatory" than with the PolySpatSamplers.
Common features :
- same sample player modules as the PolySpatSamplers series
- grouped control of the 8 polyphony voices based on the SpatMass series module
- each polyphony voice is randomly linked to the 8 SpatMass inputs
- the SpatMass controls can be modulated with the Envelopes and the LFOs

 

P o l y M a s S a m p l e r   8 4 3 D

 

 

 

 

     

 8 > 43

Version : 0.8

 

 

P o l y M a s S a m p l e r   8 4 4

 

 

- global height value

 

 8 > 44

Version

 

 

P o l y M a s S a m p l e r   8 5 7 R

 

 

 

 

 8 > 57

Version

 

 

 

 

 

A l e a S a m p l e r

 

Instead of controlling the space position of one (or two) sample outputs, each note triggers the sound randomly to a different output.
Depending on the plugin, these outputs can be grouped, moved or patched to a specific space layout.
It can be a very simple and efficient manner to obtain complex and interesting space masses that would otherwise require a lot of time and automations to get ;-)

 

S p a t S a m p l e r   3 2 Z

 

 

The 32 sample outputs can be scaled inside the 32 channels plugin outputs using the ScaleMass processing method.
It has the same powerfull features (freely contract/explode/move all the space)... and the same defaults (bad graphical resources). So use it more for static masses than for morphing ones.

 

   

2 > 32

Version

 

 

A l e a S a m p l e r   4 3 D / 4 4 R

 

 

- global space rotation control similar to the MegaRotary plugin

 

   

2 > 43 / 44

Dome version

Ring version

 

 

A l e a S a m p l e r   3 2 - 5 7 R

 

The 32 sample outputs are mapped among the 57 plugin's outputs, and they can be stored in 13 presets.

 

 2 > 57

Version 0.9

 

 

 

 

 

P e n S a m p l e r

 

P e n S a m p l e r   18 / 2 5  / 32 / 4 3

 

 

- prévu pour le jeu à l'aide d'une tablette graphique, mais peut se faire à la souris ou tout autre contrôleur XY (y compris le doigt)
- la position de l'anneau détermine à la fois la position du son sur les différentes sorties et le déclenchement des évènements selon plusieurs modes
- l'axe horizontal détermine l'étendue des notes plus, au choix, le point de départ de l'échantillon ou l'écart horizontal entre les deux canaux de l'échantillon
- l'axe vertical détermine la modulation de la hauteur plus la fréquence du filtre ou l'écart vertical entre les deux canaux de l'échantillon
- choix de la direction des modulations
- contrainte du mouvement horizontal ou vertical avec les touches Maj et Ctrl
- commandes spéciales pour les tablettes Wacom vià un convertisseur MIDI

If a Wacom tablet is used, it is possible to use the pressure, angle and inclination of the pen as modulation sources (it needs a MIDI converter like )

 

     

2 > 18 / 25 / 32 / 43

18        25  

32        43 

 

 

P e n S a m p l e r   5 7 - 3 D

 

 

- the pen pressure can control the Height
- the Height MIDI controller (cc 15, coming for example from a HotHand USB) can control also the other parameters
- "Ring compatible" channel mapping

 

2 > 57

 

  

 

 

 

 

 

K a l e i d o P l a y e r / S a m p l e r

 

It is one of my favorite tool !
The idea is simple and may resemble to other grain samplers. The main difference is that the fragments can be as short as a few milliseconds (OK, it is usually the case) and up to 30 seconds... Since the number of simultaneous grains is determined by the polyphony, you can obtain some very large and complex textures. The other difference is because it is based on a sample player instead of a realtime processing : each fragment can be triggered from whatever place in a very long file. I have used it with two hours files comming from DAT recordings and in this case it can be considered as a macro-montage toolkit

Concerning the space part, it depends on the plugin...
In the most basic versions, the fragments are directly sent to the plugin's outputs, regardless of the space assignment. You may place after a plugin like a to . The KaleidoPlayer 32-57R has one
Most of them integrate some kind of SpatMass section, which 16 points among a specific speakers layout.
In both cases, the sound fragments are oeganized to the direct outputs or thses 16 points in an interesting manner...
A multishape LFO drives how the fragments are sent

 

K a l e i d o P l a y e r   A 1 3

 

 

- 64 fragments (polyphony)
- 16 spacialization points within the integrated SpatMass module
- MIDI note command to switch among the patches

 

2 > 5.1 to 13.1

Version : 1.0

 

 

K a l e i d o P l a y e r   1 6

 

 

- 16 outputs
- douze mémoires de configurations de sorties (matrice 16 x 16)

- triggered or keyboard mode : attention, the last octave notes are used to switch amon the patches

 

  

2 > 16

Version : 1.3

 

 

K a l e i d o P l a y e r   H 1 8

 

 

-
- space animation with 4 LFOs

 

1 > 18

Version : 0.9b

 

 

K a l e i d o P l a y e r  2 4

 

 

- SpatMass module

 

2 > 24

Version : 1.0

 

 

K a l e i d o P l a y e r   3 2

 

 

- 64 fragments
- 32 direct outputs

 

 

2 > 32

Version : 0.9b

 

 

K a l e i d o P l a y e r   1 6 4 3 D  /  1 6 4 4

 

 

Integrated SpatMass module

 

   

2 > 43 / 44

Dome version

Ring version

 

 

 K a l e i d o S a m p l e r   4 4

 

 

alpha version !

Adds sampler-like controls and modulations to the KaleidoPlayer, but actually there is some polyphony problems :-(

 

2 > 44

Version alpha

 

 

K a l e i d o S a m p l e r   6 4

 

- 64 direct ouputs
- 2D controller for file position and trigger rate

 

2 > 64

Version 0.9a

 

 

M u l t i K a l e i d o S   4 8

 

 

Multiphonic version of the KaleidoPlayer that works with a series of numbered mono wave files like the MultiSampler.
Instead of spacializing the multiple fragments coming from a mono/stereo file, it keeps the original file's channels and applies the same cut-and-move process on all the channels at once.
Since it can use a lot more power than the regular versions, the number of simultaneous fragments has been limited. So it will be better with iterative and rythmic grain patterns than for continuous textures.
It can combine the command of a MIDI keyboard with the internal trigger.
Known problems : modulations range may be incoherent, the play position doesn't always follow the value it must have, keyboard mode to be improved...
All the files have to be numbered and MUST END with two digits from "00", for example "mysound00.wav", "mysound01.wav" etc.
You will have to select one of the files, and, in the dialog box or in filename zone of the plugin, REMOVE the end of the name from the number, for example "00.wav". 

 

 

up to 48 > 48

Alpha version

 

 

S w a r m M a c h i n e   1 6 5 7 R

 

-

 

2 > 64

Version

 

 

 

 

 

M u l t i S t r e t c h e r

 

 

sliding window

automatic evolutions of texture and space with complex shape morphing modulators

 

O c t o S t r e t c h e r   1 6

 

 

- eight loops with independant pitch and speed control
- 8 or 16 outputs (2D)

 

  

 1 > 16

Version : 2.0d

 

 

M u l t i S t r e t c h e r   H 2 4

 

 

- traitement granulaire de type "time stretching"
- possibilité de décalage de la fenêtre extrêmement lent ou rapide
- contrôle gestuel bidimensionnel de la vitesse de lecture et de la taille des grains
- répartition spatiale des seize "grains" sur 24 sorties 3D, avec animations cycliques complexes

 

   

 1 > 24

Version

 

 

M u l t i S t r e t c h e r   1 6 4 3 D

 

 

Granular 16 windows time-stretcher.

 

     

 1 > 43

Version

 

 

M u l t i S t r e t c h e r   8 5 7 R

 

 

- simplified mass control : the 16 sample windows are interpolated among 8 spatial points
- no complex modulations modules

 

 1 > 57

Version

 

 

 

 

 

A n i m a S a m p l e r

 

 

 

 

A n i m a S a m p l e r   1 6

 

Multi samples trigger, based on the AnimaSpat 2D :
- 16 sample players (DtD) with direct output (stereo samples are accepted but they will be mixed in mono)
- 2D trigger : position 16 samples are triggered from the déclenchement de seize échantillons en fonction de la position 2D de l'anneau (jeu direct possible à la souris, avec une tablette graphique ou un contrôleur XY)

- mode manuel à la souris, "Steps" et "Curves" (voir la description de l'AnimaSpat 2D)
- enregistrement de mouvement à la volée et relecture en faisant varier la vitesse, la forme et les points de bouclage
- each sample player has its own playing direction, pitch, filter type, frequency and resonance, ADSR and volume settings
- for each sample, the trigger distance threshold, the pitch, the cutoff and the volume can be modulated with a random value or the trigger's position
- a MIDI keyboard (or the graphic one with the mouse) can be used to recall and chain complete setups : of course, it is NOT polyphonic

 

  

1 > 16

Version : 0.9

 

 

A n i m a S a m p l e r   3 D   8 3 2

 

 

alpha version !
Eight voices sample player, with sound modulations vary according to the 3D space position of each voice...

 

   

8 > 32

Alpha Version

 

 

 

 

 

M u l t i S a m p l e r

 

There is alas no way to make a sampler that can play interleaved multichannel files in Synthedit (or in Flowstone), but we can nevertheless play high numbers channels' samples in the form of a collection of synchronized mono or stereo wav files.
It is a little less CPU efficient and will need a special preparation from the user, but I haven't noticed any other drawback.
In these plugins the sampling section is also very simplified compared to the other ones, to preserve resources, but I may add them progressively.
Of course, nothing prevents you to use different pairs of samples ;-)

 

M u l t i S a m p l e r   3 2

 

Up to 16 synchronized stereo files.
All the files have to end with _1_2.wav (and the following numbers).
To load the sample, just erase this end in the dialog box, for example "mysound_1_2.wav" becomes "mysound".
You can also erase it after loading in the filename space of the plugin.
You can use Wave Agent (freeware, alas limited to 32 channels) to automatically convert the multichannel files to these numbered pairs.

 

 

up to 32 > 32

Version : 0.9

 

 

M u l t i S a m p l e r   4 8

 

 

Up to 48 synchronized mono files.
All the files have to be numbered and MUST END with two digits from "00", for example "mysound00.wav", "mysound01.wav" etc.
You will have to select one of the files, and, in the dialog box or in filename zone of the plugin, ERASE the end of the name from the number, for example "00.wav".
To preserve the resources, the features of the plugin are limited and the polyphony is set to 4 voices only.
You can use Wavewizard to convert the multichannel files to these numbered ones.

 

 

up to 48 > 48

Version : 0.9

 

 

 

 

 

S y n t h s

In the eighties, I loved synthesizers. But I reckon that it was perhaps more the instruments than the sound itself.
So, when they got software only, I always find that sample based processing is - nearly - always more attractive for me.
Nevertheless, if we can link space mass values together with synthesis parameters, we can obtain very intereresting things. I regret that I have not spent enough time on this, and it is one of my todo work for the next(s) year(s) to make something more attractive than the following little toys...

 

S p a t S y n t h   5

 

- 5.0 output
- 2 oscillators
- 1 multimode filter with resonance
- 1 separate lowpass filter for the LFE channel
- 2 LFO
- 2 envelopes
- frequency modulation of the OSC 1 by the OSC 2
- synchronisation of the oscillators
- double delai modulable with feedback with independant surround position
- reverberation
- modulation of the position of the sound by the LFO, the envelopes and MIDI controls
- polyphony 8 notes

 

 

5.0

Version : 0.9

 

 

J o y S y n t h

 

- jeux au joystick (support intégré), avec une tablette graphique (avec MIDITab de Russel Borogove) ou à la souris (pour le jeu au doigt, voir plutôt le TouchSynth).
- 2 oscillateurs, filtre multimode, deux LFOs, double delai, réverbération
- les valeurs de tous les paramètres sont interpolées en fonction de la distance entre le pointeur (anneau rouge) et les objets placés sur la vue de 2D
- positionnement libre des huit enceintes, du son (anneau bleu) et des deux delais
- la position du son et le pointeur d'interpolation peuvent suivre le même mouvement
- les mouvements effectués peuvent être instantanément enregistrés et rejoués à vitesse et direction variable.

 

 

8

Version : 1.1b

 

 

F o c u s S y n t h   3 2  /  5 7 R

 

 

- 32 / 57 oscillators
- each frequency and amplitude is driven by the distance berween the "focus ball" position and the oscillators/speakers points, according to the Area size, its curve, and the other settings
- Inertia setting to obtain sharp pitch variations or very slow glissandi
- the Area size can be as small as a few pixels, allowing to cut the sound in small pieces or as wide as the whole space

 

       

 32 / 57

Version 32  

version 57

 

 

 

 

 

O t h e r s

 

S p a t S a m p l e r   L 1 6

 

- sortie en seize canaux, indépendante de la disposition des enceintes (2D ou 3D)
- échantillons stéréo en streaming (16 et 24 bits)
- filtre "mixmode" permettant le mixage dynamique entre LP / HP / BP et RB
- deux enveloppes
- trois LFO
- modulation du point de départ de l'échantillon et du début et de la longueur de la boucle
- boucle linéaire et inverse
- time-stretch en temps réel
- contrôle des masses spatiales complexes par modulation directe des intensités ou interpolation entre sept configurations (modulable)
- sept "snapshots graphiques" par patch
- portamento polyphonique
- polyphonie de huit notes

 

 

 2 > 16

Version : 1.0

 

 

C h a o s S a m p l e r   1 6

 

- animation de huit occurences d'un échantillon
- déclenchement automatique ou selon l'appuis d'un crayon ou le clic de la souris
- animation de la position spatiale des huit occurences et des paramètres des échantillons (hauteur, filtre, point de départ) par trois sections cumulables plus trois modulateurs complexes
- distance radiale entre les huit points avec vitesse de pulsation
- mouvements aléatoires continus ou quantifiés
- rebonds complexes selon l'axe horizontal ou vertical
- le clavier (et les notes MIDI) n'est pas fait pour un jeu mélodique mais permet d'enchaîner des configurations complètes, il N'EST PAS polyphonique
Attention : cet instrument peut consommer beaucoup de ressources processeur. Pour l'instant, il vaut mieux éviter d'utiliser la modulation du point de départ.

 

    

2 > 16

Version : alpha !

 

 

Z o n e S a m p l e r   8 1 8

 

- 8 zones sur 5 octaves
- position libre des 8 zones sur les 18 sorties 3D

 

2 > 18

Version : 0.8

 

 

S p l i t S a m p l e r   2 4

 

-

 

 

2 > 24

Version : 1.0a

 

 

O c t o L o o p e r   1 8

 

 

- huit enregistreurs/lecteurs mono, durée d'enregistrement limitée à 30"
- configurable en huit, douze, seize et dix-huit sorties
- dispositions 2D et 3D (17.1)
- association de la position spatiale avec les paramètres de bouclage de chacun des huit échantillonneurs
- variation de vitesse et filtrage pour chaque boucle
- préconfiguration de contrôleurs MIDI

 

 

 8 > 8/12/16/18

Version : 1.0

 

 

O c t o S c r a t c h e r

 

- quatre lecteurs / enregistreurs de fichiers wave (16 bits)
- capture de l'entrée audio en temps réel pour une utilisation "live"
- soixante secondes maxi par lecteur
- scratch bi-directionnel
- réglage de l'inertie
- position centrale à vitesse nominale ou à 0 Hz
- un seul geste pour scratcher les quatre fichiers et contrôler leurs intensités
- sorties directes sous la forme de quatre paires stéréo

 

 

8 x 8

Version : 1.0