![]() These all work well, but I especially liked the improved reverb included in version 1.5.Ī nice addition is the option to just have the wet signal of the effect go through. The Mod Env also has the same target choices as the others.ĪNA ships with 6 different effects: phaser, chorus, distortion, compressor, delay, and reverb. In addition, you can assign the G-Env as the source, and give it yet another target. You can pick (for instance) the Mod Wheel as the source, and have it point to reverb amount as the target, or any other of the same targets that the G-Env and LFOs have access to. Mod1 and Mod2 can be assigned a source and a target. There are Monopolar and Bipolar versions of Sine, Triangle, Saw Up, Saw Down, Pulse, Random, and Sample and Hold. With the 2 LFOs, you can assign them the same way as the G-Env, but they each have 2 targets available, versus the one target of the G-Env. It’s great for getting even more control over the sound than you would using the ADSR envelopes alone. You just right-click on the envelope to create a new point and then drag that point where you want. The G-Env is an envelope you can edit and assign to the Osc attributes, LFOs, EQ, Filters, and even the FX. For the filter called LP + Dist, there is a distortion built-in to it, and it uses the Res knob to control the amount that is added. The filters can be run in series or parallel.Įach envelope section has standard ADSR controls, and there are 3 selectable envelope curves for the Filter, Amp and Mod Envelopes. 3), including 2 and 4-pole (plus HP and BP versions), and 4 different Formant filter types, just to name a few. There are many other useful ones included: a few of them are strings, bass, bell, EP, and a pizzicato (plucked-string) sound.ĪNA 1.5 has 23 different filter types (Fig. ![]() Or add a guitar sound to the beginning section of your preset’s design. For instance, you can use the “Kick Click” to give a kick drum sound you’re designing a bit more punch. ![]() These are great for the “attack” part of the sound, where you might want to beef up the sound a bit. In the attack section, you can pick from a whole different set of 31 waveforms. There are choir sounds, bells, chords, and many more to choose from. This part of the synth has many useful sounds, not just the usual pink or white noise types, though they are included as well. Eric Archer nails it again with an odd concept and a rock-solid, focused execution that results in a toy that just begs to be played with.There are 38 different waveforms for each of the 2 oscillators in the Noise section. It encourages constant experimentation, weighs nothing, and I can see using its output in both sound design and musical contexts. Hell, I bought two (for future stereo photo-phonic insanity). Lite2Sound is a pretty narrowly-focused device and how useful it is to you depends on your taste for the unpredictable. It was so small and so perfectly complemented a handheld field recorder, I just wanted to take it everywhere and point it at everything! It imparted the same joy as when you start recording with contact microphones, or hydrophones: A new way to listen to the world around you. The more I used the Lite2Sound, I put it in a small plastic container (hacked with an XActo knife for access to controls and the headphone jack) in order to keep the components better protected. It’s a tool of discovery, and its very nature encourages constant experimentation. The resulting sounds were astounding in their range: Static, glitches, distorted synth pads, pure sinewave tones, sawtooth-like tones, and much more. Pulsing lights of devices in standby mode. A close up of the power button of an XBox 360 while booting up. Lights inside of PCs, modulated by fans…and further modulated by speaker grills as I passed the Lite2Sound from side to side. My experiments were conducted in and around high tech computer equipment, running an 1/8″ mini jack from the headphone output into my Sony PCM -D50 recorder. It’s when you start listening to artificial lights in otherwise dim environments that some serious magic starts to happen. If you just point it at bright, broad light sources, it’s kind of disappointing. Simple, exciting, and a whole new world of sonic insanity. You can buy them as kits or, as I did, fully assembled. It runs off a 9-volt battery, has a volume control, and a headphone jack. ![]() I’ve previously written about the heavily-built, wickedly cool Grendel Drone Commander synth from Eric Archer. I check his site, Rare Waves, from time to time for new handmade electronic toys, and I was really intrigued by his newer Lite2Sound PX unit. This small device, in Eric’s words, “extracts audio from ambient light.” It’s a photodiode amplifier. Rare Waves’ Lite2Sound PX, by Eric Archer: A photonic microphone!
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