![]() ![]() * to compile Lore on your own, you need Cabbage and the Lore folder from Github. Lore is freely available to compile on your own* (CC BY-NC 4.0) but also available as a plugin for patrons of the project. Continually developed since the 1980s, Csound is an incredibly mature audio framework with immaculate sound quality. Lore's entire engine is built on the powerful, open-source sound computation language Csound. Lore absorbs these tools into a flagship, modular environment. Much of Puremagnetik's development for the past several years has culminated into experimental sound processing tools. From there everything can be modulated for dynamically shifting, constantly-evolving sound sculptures. Lore dissects audio into tiny particles that can be stretched, spectrally delayed and surgically altered on very specific frequency bands. Currently, Lore functions as a granular and spectral processor that opens as a plugin in a host like Ableton Live or Logic. Lore isn't simply a synth or effect a complete workstation for manipulating and processing sounds. Pierre Schaeffer, In Search of a Concrete Music "The concrete experiment in music consists in constructing sound objects, no longer from the interplay of numbers and metronomically marked seconds, but with pieces of time wrested from the cosmos." It combines spectral and granular engines along with several other features designed to unleash the power of microsonic resynthesis. A typical two-bar drum loop is here easily sliced using the Sensitivity slider.Lore is an advanced sound design workstation inspired by musique concrète, microsound and other pioneering sound technologies of the past several decades. ![]() No further fine-tuning of slices was needed, though the Envelope, Transient Shaper and EQ have been manipulated. Is it still an essential tool a decade after its original launch? It's been a long wait, but the original slice-and-dice loop editing program has finally made it to Mac OS X. With the high profile of their Reason software studio, it's easy to forget that Propellerhead have another revolutionary piece of programming in their roster. Recycle has been around in one form or another for almost 10 years (version 1.1 was reviewed in SOS May 1995) and represents, as it always has, a lateral approach to tempo- and pitch-matching of unrelated sampled audio, typically of the 'loop' variety. Of course, Recycle 's chances of being marginalised are slim: Reason includes the Dr. Rex loop player amongst its device arsenal, and Recycle is the package that generates the required loops.Īt the time of Recycle 's initial release, real-time pitch and tempo manipulation were a couple of generations away for most studio users, while many engineers used hardware samplers to extend the capabilities of their computer-based audio software. Recycle 's approach of 'find the peaks and chop the sample into bits' soon found favour with engineers and remixers of all styles. ![]() The bits, of course, could be triggered by a MIDI file generated by the process, or played back in any order at any tempo, with slices having the option of being retuned. The slices were generally sent to the engineer's sampler, to take the load off the host computer. The whole loop could also be quantised, or used as the basis for 'groove quantising' in another piece of music. This approach to the issue has been borrowed by others - most visibly, perhaps, in recent sampling devices from the likes of Korg and Yamaha - and is still an effective alternative to pure DSP-based tricks. The latest incarnation of Recycle works under Windows XP/2000 or Mac OS X gone is version 2.0's support for earlier flavours of Windows and Mac OS 9. Operationally, though, there are few significant differences between the versions 2 and 2.1. To explore what Recycle does is to discover its control set. First of all, you load a file, since Recycle has no recording options. This can be a mono or stereo 8-, 16- or 24-bit AIFF or WAV file, with a sample rate between 11.025kHz and 1MHz. Mac Sound Designer II files can also be loaded. The only real limitation is that no sample, mono or stereo, can be longer than five minutes. A very detailed file selector window lists all a sample's parameters and offers pre-loading auditioning.
0 Comments
Leave a Reply. |