![]() (Information Commissioners Office) Our Cookies Policy Using such technologies is not, therefore, prohibited by the Regulations but they do require that people are told about cookies and given the choice as to which of their online activities are monitored in this way. The use of cookies and similar technologies have for some time been commonplace and cookies in particular are important in the provision of many online services. At we use cookies to personalise your experience and help us identify and resolve errors. This is clearly a tool for sound designers and soundtrack composers.Cookies are tiny data files stored in your web browser when you visit a website. Whether you need Stream depends on the plug-ins already in your arsenal and the ways you like to work. Stream is an affordable and simple-to-use granular-synthesis plug-in that’s as capable of far-out destructive textures as it is smooth and lush alternatives. There’s also a free limited version on the website, so you can try before you buy. The presets are an efficient way to get to know what this plug-in is capable of, and Delta Sound Labs has a set of accessible tutorial videos on its YouTube channel too. ![]() We record vocal ahhs into the buffer and jam with those, and these work well as a starting point too, ideal for building up compelling layers and textures.Įverybody should have at least one granular synth plug-in in their arsenal, and Stream sounds excellent no matter what you feed it with, yielding stutter-like effects at high note values and moving into smooth shimmer-style territory at lower values. We try it with beats, piano chords and spoken word, and are impressed with just how easy it is to get interesting results from all the elements we throw at it. By using the record and overdub buttons, Stream can stack up layers like a looper effect. Stream can be added to audio or MIDI tracks but it has to grab from a live audio input or a sample in order to work it doesn’t work like typical audio effects whereby it’s applied to everything passing through it. The plug-in’s final section is the Out panel, which contains a mixer section. Above the five sections, below the visual display, there’s a horizontal playback bar through which it’s possible to click and drag to speed up or slow down playback in either direction. The fourth section, the Env panel, presents a choice of ‘windows’ that affect Stream’s playback characteristics: Triangle is the smoothest, Gaussian is more rhythmic, and Noise is suitable for noisier percussive textures. At the bottom of the Grains section is a horizontal slider that increases the randomisation of the playback position for each voice as it’s moved from left to right. This is presented clearly via the central display, with each voice appearing as a blue region onscreen, the area they cover determined with the grain control, and the overlap altered as you move the controls. Below these, there are controls the number of voices, grain size (when not set to notes) and spread, which determines the overlap between each voice. The adjacent sync button sets grain sizes to note values, and next to that there is a reverse button. It takes incoming MIDI notes directly from a keyboard if Stream is loaded into a MIDI track or, if it’s on an audio track, MIDI can be routed from a separate MIDI track. The Grains section features the poly switch, which makes Stream more playable as a regular software instrument despite being an audio effect.
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