![]() Finally, there is a filter that can be used in both low-pass and high-pass modes that can be placed in three different locations in the signal chain. For even more destruction, there is a feedback knob that sends the output signal back into the input with switches to flip the left and right channels or invert the phase. There are the usual controls for dry/wet mix and input and output levels, and there is a switchable limiter on the input that can be used to add distortion or bit-crushing effects on its own by increasing or decreasing the input level, respectively. Sonic Charge made this easy by adding the ability to control the switches via MIDI notes, so you can "play" the plugin with a MIDI keyboard.īesides the digital delay processing, Permut8 also features some analog-modeled signal processing. Even without any understanding of binary, you could learn this plugin by simply playing around with the switches and watching these visual cues. Each switch has an LED underneath that serves as a guide for the overall operator's effect at the current point in time, and there is also an invaluable strip of LEDs at the bottom of the plugin window that show the positions of the record and play heads of the digital delay line. Permut8 provides some additional helpful visual cues to show you what's going on underneath the covers with respect to the way the two instructions affect the playhead. For example, the MSK operator for instruction 2 masks out the effect of the instruction above it, creating a choppy sequenced effect. These operators have names rooted in binary math operations like AND, OR, XOR and MSK which makes them tough to grasp, even for those who "speak" binary-but with some experimentation and a read through the manual things become much more clear. It does all this using the two instructions, which both have four different "operators" (you can think of them as effect types) to choose from. So naturally Permut8 can do the regular delay thing, but it can also get more advanced, with sophisticated beat-repeat, bit-crushing, flanging and other circuit-bent processing all possible. ![]() This is a pretty ingenious design, as it allows for multiple types of processing engines to be controlled by a single design. They do this by constructing parameter values for two "instructions," one for each row, which can almost be thought of as LFOs or modulators for the playback head of a digital delay. Two rows of switches (16 in each row) are used to control the playback of a buffer of audio that is continuously being sampled from the input. The Permut8 manual, which is essential in getting familiar with the plugin, states that it "embraces the sounds of primitive digital signal processing hardware." Digital is the key word here, as a general understanding of the binary numbering system (the language that computers speak) is helpful to be able to control the plugin. In keeping with their usual creative streak, the announcement was accompanied with a sliding block puzzle on their website that users could solve to get a preview of the plugin. With that track record, we were excited to see Sonic Charge announce a new multi-effect plugin called Permut8. ![]() They've even dabbled in hardware, developing an alternative OS for the Yamaha TX16W sampler called Typhoon. In addition to their recent plugins, they are also responsible for the technology behind Propellerhead Recycle, the REX audio format, and the Maelstrom synthesizer within Reason. Although the Sonic Charge brand is somewhat new, the body of work of the folks behind it goes back a surprisingly long way. From Synplant's randomly generated organic sonic palette to Bitspeek's real-time vocal re-synthesis, the stuff they make is infused with a sense of personality. The plugins created by the Stockholm-based developers have a level of uniquity that's downright refreshing in today's crowded market. ![]()
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