I have used Granulab in its standalone form for years. It's programming heaven - or hell, because it isn't geared to necessarily making pretty sounds.
The new VST version is pretty much like the one-voice standalone. The standalone provides a lot bigger control interface with finer controls, but I'll get used to the interface - or not. I don't care.
The way I will use Granny VST is that I'll pop in a weird sample and have at some granular synthesis for an hour or two, not necessarily playing to record it or insert it into other tracks. Just tweak away, making noise. IT IS SO MUCH FUN.
I consider working with Granny to be an industrial electronic music meditation. YM will definitely V.
I started using the standalone version of GranuLab around 2010/11, and it hasn't left my taskbar since. I've tried lots of granular software over the years but nothing has managed to knock it from the top spot. I use granular synths for microsound / sfx type transformations (a la Curtis Roads) rather than making nice pads, which is what a lot of granular software seems to be aimed at recently. The ability to transform between preset states as well as set slower / faster parameter change times is the clincher for me. Fantastic for live use, I just record long takes and edit out the best bits.
Particularly chuffed that I can now simply drag and drop files from my host sequencers browser, which speeds up the workflow immensely. Fantastic to see that a vital bit of software is now being updated again.
Very creative and appealing plugin right of the bat. It has tremendous potential but is a bit confusing and unpredictable in its current form. Being able to trigger the clips with MIDI would be a must to make it my go-to granular synthesis engine.
Visually, this is a winner for me: I particularly like how the effects curves are displayed and tweakable! I had never seen this before.
I'm giving you 5 stars so you can win and finish the plugin because it's a keeper.
I love this concept, and the layout ideas are brilliant, it's a neat tool to do wild experiments for sound design... But either I'm missing something big, or this is completely unplayable as an instrument?