Siren Audio recently released version 2 of their critically acclaimed audio software tools, Feedback and Generative. Originally a part of the Lorelei Suite which they released back in 2011, these stand-alone applications are developed using Max/MSP and give the user a chance to create drones and evolving audio textures very easily.
In this review, I will be using audio and video demonstrations to show how you can use these applications to create various soundscapes, drones etc. musical and otherwise. For more information about the full capabilities of these tools please make sure to check Siren Audio’s official website and YouTube channel in which you can find quick-start videos as well as in-depth ones that walk you through all aspects of the applications so you can be on your way to using them extensively in no time.
An interesting examination of the origins of ‘delay’ as an effect, and the technologies that led us to where we are today. From Groove3′s Youtube Channel.
Guest contribution by Michael Theiler (Kpow Audio)
Situating an Ambience
When creating ambiences for games (this applies equally to film), I am striving to make them blend into the background and not mask any important in game sounds. For most ambiences, these are the most important qualities that I am attempting to resolve.
In order to achieve this, I need to firstly focus on the repetition and timing between audio occurrences in the sounds. This means spacing sounds, and adding and removing sound occurrences in my audio sequence. I then work on the frequencies in the sounds, using equalization to mold them into the right sound. Finally, I work on their sound propagation and the sound of the space in which they are to inhabit. These are the steps necessary to mould sound into something suitable for the space. Just adding reverb is not enough – the sound needs to be purpose built for the space’s reverberation and delay treatment.
When building the space that sounds occupy, it may sometimes seem like overkill to load up those DSP hungry (though wonderful) reverb plug-ins. They can be a pretty big load when it comes to even the mildest amount of spatialization, and it can also be time consuming to configure one to emulate an outdoor space. I thought it would be worth sharing a trick of mine for both situations. A low-to-no DSP method of spatialization that allows us to “fake the space.” I should qualify this. We aren’t going to be looking at how to fake a traditional reverb, but how to add a mild sense of space to the sounds we work with. We’re just going to give them a little bit of multichannel presence to better situate them in the world. Before I get into the specifics of the process though, let’s review some science!
A friend recently asked me what three plug-ins I would take with me on to the proverbial “desert island.” Assuming I also packed a Macbook, a copy of Logic and an iLok updater, I told him my three plug-ins would be:
- Serato Pitch ‘n Time
- The GRM Tools
I recently picked up the complete GRM Tools version 3 “Evolution” bundle, and here’s my experience, along with everything else I know about the GRM Tools.