Grail­lon 2

Computer Music - - Reviews - Web www.auburn­sounds.com For­mat Mac/PC, VST/AU

A dra­matic up­grade from 2015’s Grail­lon, ver­sion 2 sees the ad­di­tion of real-time repitch­ing to Auburn Sounds’ vo­cal fre­quency shifter. The Pitch-Track­ing Mod sec­tion is still in place – mix­ing four pitch-track­ing, fixed-ra­tio ring or fre­quency-mod­u­lated copies of the in­put sig­nal for the cre­ation of re­ally weird ‘robot voice’ ef­fects – but now sits along­side new Pitch-Shift and Cor­rec­tion sec­tions.

The spec­tral pitchshifter en­ables up to 12 semi­tones of ad­just­ment up or down, with the Pre­serve For­mants knob do­ing a good job of main­tain­ing the gen­der and char­ac­ter­is­tics of the source vo­cal – to an ex­tent, of course. The Cor­rec­tion sec­tion is used to snap the pitch of the in­com­ing sig­nal to dis­crete note pitches of your choice by de­ac­ti­vat­ing/ac­ti­vat­ing the graph­i­cal keys. Click­ing a key turns it red and ‘kills’ that pitch – the source sig­nal repitches con­stantly to the near­est blue note. The Cor­rec­tion Amount knob in­creases the depth of the repitch­ing, while In­er­tia, Smooth and Snap Range con­trol the ‘stick­i­ness‘ and speed of cor­rec­tion, and the width of in­flu­ence for the en­abled notes. The cir­cu­lar in­di­ca­tor on top of the wave­form dis­play very ef­fec­tively vi­su­alises the remap­ping of pitch as it hap­pens. The wave­form dis­play it­self doesn’t serve any practical pur­pose, though.

As well as all that, Grail­lon 2 also in­cludes a rather filthy bitcrusher. It’s com­par­a­tively vi­able for real-time use, too, thanks to the in­tro­duc­tion of just 23ms of la­tency when used on a live in­put sig­nal.

At its low ask­ing price, Grail­lon 2 not only ap­plies rel­a­tively nat­u­ral-sound­ing pitch cor­rec­tion when used with care and con­sid­er­a­tion, but – more im­por­tantly, we’d say – serves as a quite bril­liant cre­ative ef­fect, bring­ing pitch cor­rec­tion and shift­ing to­gether with fre­quency mod­u­la­tion in an in­ter­est­ing way that we’ve not seen or heard be­fore.

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