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Re: In search of a NEW effect --- was: Fill my rack!
being one of the ones ( like you, I guess) who considers an effect as a
part of the instrument in itself, I wanted to share my thoughts:
-all the effects are originated by mathematical calculations (hardware
or software, analog or digital) applied to the sound some way.
-these algorythms can generate all the effects we all know: compression,
distortion, delay (from which reverb, chorus, flanger etc.), phase and
pitch shifting and so on.
therefore I think that the only "new" effects tool will be the one that:
-will offer a "new" combination of these
-Will offer you the chance to control these combinations with the
easiest User Interface available.
In my experience this is the most critical factor, especially if you
make music without thinking to it as a mathematical construction but
looking after its final, musical, result.
I found myself using several processors chained together knowing well
that I could reduce the size of my rack because I could get the same
sonic result creating a bigger algorythm in jsut one or more of them.
But there is something I can not do with one big algorythm: its changing
parts of it on the fly without encurring in dropouts or having to scroll
big books of menupages, making me forgetting the music I am doing and
dressing the white apron of the mad scientist.
So for now I work with repatching and splitting and feedbacking....
I can't wait to meet Per and the others of you who will perform in
Zurich and use a laptop to see how viable this solution may be.
I am not looking to pc processing as a way to get the same sounds I am
using now, rather to check how its User Interface will allow me to have
all the colours I need in a such smaller package than a 10 U. rack.
my 2 cents....
Travis Hartnett wrote:
> It depends on what you mean by "hardware" and "software". If it's
> digital processing, then whether or not there's a standalone hardware
> platform (i.e. a rackmount unit) seems somewhat secondary. Analog
> hardware gets expensive quickly, so if something new came out, many
> people would say "Geez---that's too much money, couldn't I get there
> for free in software?"
> Personally, I'm unaware of great new software effects. All the "map
> some aspect of sound to some other aspect of aspect of sound perhaps
> in a non-linear manner" stuff never floated my boat, either sounding
> like some bizarre autowah/ring modulator or just like broken gear, and
> not in a desirable manner.
> What software-only effect has come out in the last five years that's
> established itself as a modern classic? I'm not being facetious, just
> asking for an informed overview from those who have been keeping track
> of that area of sound modification.
> On 5/27/05, David Kirkdorffer <firstname.lastname@example.org> wrote:
>> Mark -
>> I agree with your message here - there doesn't seem to be many new
>> imaginative effects being constructed in hardware for punters to
>> Just re-hashes of what have been done before. And who wants another
>> or flanger or distortion? :-)
Per Boysen wrote:
> On May 28, 2005, at 7:03, David Kirkdorffer wrote:
>> So, I guess I'm conceding some "old-fogyness" when I ask this next
>> "If in the past we've called some well loved effects things like
>> "modulators" and "pitch shifters" and the like, what are the names
>> of the
>> new since 2000 signal-warping effects????????
>> Please help -- I'm about out of permutations and combinations of the
>> sound-painting equipment I own!!!
>> David Kirkdorffer
> - Controller Interface!
> I'd definitely say that it's now all about Interface; better ways to
> connect man and machine for intuitive interaction. We already have
> all the signal warping algorithms we would ever need. With todays
> arsenal you can do almost everything with sound. But you can not do
> it easily. That's the department that still sucks big time!
> Greetings from Sweden
> Per Boysen
> www.looproom.com (international)
> www.boysen.se (Swedish)
> ---> iTunes Music Store (digital)