He says that this plug is no longer supported, but it is downloadable. With the resonance cranked it will self-oscillate and you can play the resulting pitch like a Theremin by MIDI assigning the Damp control to a knob, fader, or Source Audio Hot Hand MIDI-EXP Controller. Using the Damp and Resonance knobs, you can evoke classic tape and dub effects, but with two independent (or linked) delay lines, it offers much more than retro sounds.
They are all worth checking out, but the TAL-Dub vintage delay effect is a must-have. He offers an amazing range of free virtual effects and synthesizers. Tal Togu is programmer Patrick Kunz’s nom-de-developer. Sound clips are grouped together on Sound Cloud (Warning: unmastered, so the volume fluctuates from clip to clip). Also, where appropriate, check out their paid products, as, for many, the freeware is a kind of advert for the stuff for sale. If they work for you, please donate something to the developers they have created wonderful music making tools and should be rewarded with coin of the realm. I can’t guarantee they will work on Mountain Lion or the latest Windows, but hopefully at least some of them will.
#SOUNDHACK FREE SOFTWARE MAC#
I use these plug-ins hosted by Ableton Live on a Mac running 10.6.8. They range from vintage emulations to spectral and granular effects, and best of all, they are all FREE! Here is a list of seven plug-ins (okay, a couple are suites, but seven sounds sexy) I have used over the years in recording and performance. Too, there is the level of control-static and evolving-over parameters, available with plug-ins, but not yet with pedals. As many amazing and out there pedals as there are, there are still some sounds you just can’t get from hardware. Getting started with FScape from Sciss on Vimeo.One advantage of performing with guitar through a laptop is the ability to use plug-ins, in addition to pedals. The following 14 minute screencast should allow you to get started with FScape: a sound could be first translated into the Fourier domain before applying other algorithms which you would normally reason about in the time domain, or processes could be repeated over and over again). At the same time, the repertoire is virtually unlimited, as the modules can be combined in ever new ways (e.g. FScape is used by composers worldwide and is also suitable for teaching, as the basic setup is fairly simple and some modules quickly provide rewarding results with minimum prior knowledge. For instance, in my piece «Inter-Play / Re-Sound», parts of the past improvisation – which is record continuously – are picked out, transformed and re-injected, after only a few seconds of processing, as new material for the ongoing piece.Īlthough many modules have close relationships with particular pieces I wrote, they nevertheless form a universal toolkit for any work on concrete sounds. There are many processes, however, which run hundred times faster than real-time, opening intesting applications for the embedding (using an OSC interface) of FScape in real-time improvisation or installations. This allows on the one hand to access the sounds in a non linear fashion, but also facilitates complex calculations which even today would not be possible in real-time speed. "resource-rich and highly recommended for anyone looking for some wild ways to bend, fold, spindle, and mutilate audio." (Dave Phillips for Linux Journal)įScape received the 2014 LoMus award of the Association Française d’Informatique Musicale (AFIM).Ī peculiarity is the fact that all modules operate in non real-time. The sounds I'm getting out of it so far have been killer.
"It feels like a cross between SoundHack, Syd, and Argeiphontes Lyre. Highly useful within sound design." (filmcrewpro) "Can be used to manipulate audio into weird and wonderful sounds. Many of the processes and their ways of parametrisation are unique. From simple utilities such as separating channels, normalising, cutting and splicing sounds, through various DSP and filtering algorithms to more complex algorithmic units which take a sound, analyse it, and rearrange it in new forms. Today FScape consists of around fifty independent modules for rendering audio files. Originally it started as an extension to Tom Erbe's SoundHack, providing 'spectral operators'. It leads like a red thread throughout my musical work, by conceiving sound as a 'clay', a flexible, sculptural mass. The development of FScape began in the year 2000 (happy 14th anniversary!).
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