Nearly all the tools one would need for composing are there. But I believe there's a lot you can do with the built in math processes in Soundloom.) And i find the cluttered desk of a crazy composer vibe of Soundloom to be kinda awesome. several envelopes with slightly randomized parameters. (I've sometimes cheated and have used Supercollider to generate breakpoint files data. Also using math processes to generate break point files that would be impossible or insanely time consuming to do manually provides gold. The good stuff happens when you think in terms of several processes interacting, as opposed to a one-off process approach. CDP's magic really comes alive with the instruments (strings of processes) and batch processing. I prefer to work in Soundloom as opposed to the other available interfaces for several reasons. The deeper you go into it, the more its uniqueness is revealed. Posting it again here:ĬDP is impractical, inefficient, and wonderful. I noticed my link in this thread is broken. Even if you look at THIS THREAD, plenty of links posted on first pages are now not available anymore (together with some of the authors, d'oh!).Īlways happy to see some activity on this thread. Very often those tracks or demos are now deleted or somehow other way displaying error 404. I don't know any other way I could have accessed these complex spectral analyses and transformations without making the leap to something like Kyma, which costs $3800. There are also wonderful tutorials and a fantastic, extensive learning manual that was just uploaded last month. The software is extremely powerful - and free. (The software lets you time stretch up to 1,000 times the length of the original source file!) Then Blur and Accumulate functions were used to extend the partials over time and make them more perceptible. Spectral time stretch was used to slow down these recordings 25-50 times without lowering the pitch, to open up the material and make these intricacies available. The samples contain very rapid, dense modulations and events that were so fast they were barely perceptible. Short samples of a performance on my modular synth, processed in CDP (Composers Desktop Project). Once you start to get up the learning curve, it's fluid and fun. All of this is very carefully done, and it makes the power of CDP a lot more accessible. They walk you through a lot of functions, show you typical use cases and parameter values, and give you plenty of example text files that show how to create breakpoints (automation over time), note values, and time values (for some of the more complex functions, like Texture). I spent some time with the (super helpful) tutorial workshops that are provided with CDP. I'd love to hear that "X module does great with Y kind of sound if you set parameters ABC like this." Especially if you post sound files, or videos. If anybody's discovered treasures in CDP, please share! There's so much to explore, we really do need a whole crew of intrepid explorers. (You get some other Puremagnetik goodies too.) Or you can come along for the ride and see where Lore goes. Lore is subscription based - but your first $9 month gets you the current version, and you can keep that forever, even if you cancel the month after that. But if you're interested in CDP, you'd probably also be interested in Lore. You can try out a lot of possible combinations in a rapid and fluid way.ĬDP does offer features that depend on the spectral analysis of two or more sound files, and can combine or interleave them, or impose the spectral envelope of one sound on another - and Lore has nothing like that (does any other piece of software, other than Kyma?). You can drag and drop a new wave file for it to process, and it seamlessly just keeps running. It runs in real time, so you can instantly hear the impact of changes that you make. Granular and spectral processing are just two of the many many features available in CDP, but Lore makes them accessible and fast and easy to explore. I started a thread about Puremagnetik Lore here and posted a piece I made with it.
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