2CAudio Kaleidoscope | It's A Trip | Latest Update 1.1

[ErikH]

Sound effects are like spices in food: use enough of them so they complete the taste but not so much they become predominant.


Great work, mr. Souter!

[Andrew Souter]

something we are working on for KS. Check this out:

http://2caudio.com/sitecontent/products ... S_Perc.wav

KS into B2. Nothing else. No input signal. Pure synthesis from KS.

[Den*]

something we are working on for KS. Check this out:

http://2caudio.com/sitecontent/products ... S_Perc.wav

KS into B2. Nothing else. No input signal. Pure synthesis from KS.

Hi Andrew
Sounds very nice.. B2 reverb also.. Can we know what preset was used on B2, I really like it.

[Andrew Souter]

Sounds very nice.. B2 reverb also.. Can we know what preset was used on B2, I really like it.

Sure here you go:

http://2caudio.com/sitecontent/products ... _Space.2ca

actually i just made it quickly, and derived it from one of your presets!

you had a preset "Lexington Hall A". It used only B engine. I turned on A, and I adjusted Balance to 64% and pre-delay of B engine to 79.4%, and mix to 25%.

That's it. The rest were your settings.

(side note B2 preset design topic: adding the extra pre-delay to B gives this nice bounce/bloom effect where A provides earlier energy around 40ms or so, and the B engine does not come in until 150-200ms or so (bc A is cascaded into B also at 100%, so B is not getting any direct energy. And B engine energy is extremely diffused already... You can see this stuff in the TAP DISPLAY. ...but ears are always best. )

[Den*]

Sounds very nice.. B2 reverb also.. Can we know what preset was used on B2, I really like it.

Sure here you go:

http://2caudio.com/sitecontent/products ... _Space.2ca

actually i just made it quickly, and derived it from one of your presets!

you had a preset "Lexington Hall A". It used only B engine. I turned on A, and I adjusted Balance to 64% and pre-delay of B engine to 79.4%, and mix to 25%.

That's it. The rest were your settings.

(side note B2 preset design topic: adding the extra pre-delay to B gives this nice bounce/bloom effect where A provides earlier energy around 40ms or so, and the B engine does not come in until 150-200ms or so (bc A is cascaded into B also at 100%, so B is not getting any direct energy. And B engine energy is extremely diffused already... You can see this stuff in the TAP DISPLAY. ...but ears are always best. )

Oh, thank you for sharing, You really did perfect edit. Sounds really nice, pure..
Thanks for the tip too.


From me one special Plate preset.. One engine low CPU only low cut, and saturation from second engine.
For sharing...

[Andrew Souter]

Oh, thank you for sharing, You really did perfect edit. Sounds really nice, pure..
Thanks for the tip too.

(comment 2 -- nerd level ++2 : actually I was just going through looking for a simple space that sounded cool so I thought I tried some of your presets. When I came to the "Lexington Hall A" preset, you will notice that it is too sparse for this source sound, which is very transient/percussive. The result is very abrasive/grating b/c we can hear the early reflections clearly in the B engine. So I turned on the A engine, with the intent of using it just to add another filter to create some 'input diffusion". -- I could have actually done this by changing the Damp parameter II in the B engine to something other than 0.0 also since you were using one of the"air"filters which already has its own diffusion built into it -- but I did not notice that until right now after you asked about it... So I turned on A with the intent of adding some extra filters to smooth out the grating effect of the sparse ERs in the B engine (you were using Lo density/diffusion mode. This kind of sparse/grainy early energy stuff works great on stuff with slower transient signals like vocals, strings, pads, etc. but not on fast-transient percussive stuff -- unless you want it this way for an FX). So my intent was simply to smooth out the ER stuff in B some. But when I turned on A which was not using another full engine, it sounded pretty F-ing magical already as a happy accident, so I just kept it this way and made the minor tweaks I mentioned above.)

(philosophy comment for readers at home: pedantry level +++3: I try hard to intentionally build a high probability for "happy accidents" in the actual product designs for KS and B2. These are both incredibly complicated beasts to fully understand every detail of. But the design is such that you should not need to be thinking about every exact technical detail when you are working on creative things. I had a particular goal here, and there there several ways to achieve it. I ended up using something completely different than what my analytical brain intended to do at first. Simply b/c "it sounded cool". Creatively that's really all that matters. B2 and especially KS are so deep that they are effectively impossible to prdict exactly what the result will be. They are experimental playgrounds designed to help create inspiriton etc. Happy accidents are basically "intentional" in them. )

[Den*]

Quite interesting topic. Intentional or not intentional, the question is now..

Do You know how people in China choose name for the new born baby? They throw empty can downstairs, and they listen carefully.
If the sound was: tang-teng-chung-boing-tuss-peing, that was a new name, and the original one. Do you belive that was intentional?

[Andrew Souter]

From me one special Plate preset.. One engine low CPU only low cut, and saturation from second engine.
For sharing...

Yes, great preset! This is an expert level preset programming, which i guess I should expect from you.

You use only A engine for reverb duties. You use "Hi" density/diffusion. You use an "All Pass" filter for Damp (AP M1). This means one All Pass filter. When this is used for "Damping" it serves a special purpose: it does not actually create any change to frequency response over time. Instead it increases the speed of "density build-up over time" (i.e. what should be called diffusion in the physics sense). This creates a very dense tail --and even ER area -- which is appropriate for a Plate equation, and it does not create any attack envelope so the IR still starts pretty immediately -- again appropriate.

You use shelf filter to tame the high freqs.

You then cascade A into B, and use B only to provide another filter (this time a high pass to get rid of sub bass), and then some non-linear distortion with Attitude -- which can be great on drums and percussion material.

You get an A+.

Very efficient way to get this sound also. Bonus points.

sounds great on this sound i was playing with also.

[Den*]

From me one special Plate preset.. One engine low CPU only low cut, and saturation from second engine.
For sharing...

Yes, great preset! This is an expert level preset programming, which i guess I should expect from you.

You use only A engine for reverb duties. You use "Hi" density/diffusion. You use an "All Pass" filter for Damp (AP M1). This means one All Pass filter. When this is used for "Damping" it serves a special purpose: it does not actually create any change to frequency response over time. Instead it increases the speed of "density build-up over time" (i.e. what should be called diffusion in the physics sense). This creates a very dense tail --and even ER area -- which is appropriate for a Plate equation, and it does not create any attack envelope so the IR still starts pretty immediately -- again appropriate.

You use shelf filter to tame the high freqs.

You then cascade A into B, and use B only to provide another filter (this time a high pass to get rid of sub bass), and then some non-linear distortion with Attitude -- which can be great on drums and percussion material.

You get an A+.

Very efficient way to get this sound also. Bonus points.

sounds great on this sound i was playing with also.

Thanks

I found Attitude mode named "Four", but in the manual there is no info about this mode, so I just close my eyes and I can hear hardware reverb sound. What is this saturation mode if You can explain please?

[Andrew Souter]

Thanks

I found Attitude mode named "Four", but in the manual there is no info about this mode, so I just close my eyes and I can hear hardware reverb sound. What is this saturation mode if can explain please?

it's the 4th Chebyshev polynomial (with variable mix weight).

https://en.wikipedia.org/wiki/Chebyshev_polynomials

It is said that Chebyshev polynomials can create specific harmonics from an input signal. In practice this is really only true if the input signal is a full scale sine wave. If you feed this a full scale sine wave of freq 1, you will get a sine wave of freq 4 as output.

if you are feeding it complex signals and using various mix weights, it can add "up to" the first 4 harmonics. Or more technically, expand the bandwidth of the spectrum by a factor of 4...

I guess this kind of info is mostly interesting to other developers more than the average user, so I figured it was not important (or completely wise) to put in the manual. But Chebyshev polynomials aren't exactly an esoteric topic I suppose.

Math is cool!

[Den*]

Thanks

I found Attitude mode named "Four", but in the manual there is no info about this mode, so I just close my eyes and I can hear hardware reverb sound. What is this saturation mode if can explain please?

it's the 4th Chebyshev polynomial (with variable mix weight).

https://en.wikipedia.org/wiki/Chebyshev_polynomials

It is said that Chebyshev polynomials can create specific harmonics from an input signal. In practice this is really only true if the input signal is a full scale sine wave. If you feed this a full scale sine wave of freq 1, you will get a sine wave of freq 4 as output.

if you are feeding it complex signals and using various mix weights, it can add "up to" the first 4 harmonics. Or more technically, expand the bandwidth of the spectrum by a factor of 4...

I guess this kind of info is mostly interesting to other developers more than the average user, so I figured it was not important (or completely wise) to put in the manual. But Chebyshev polynomials aren't exactly an esoteric topic I suppose.

Math is cool!

Oh, I see. Thanks for explanation. There is many different options indeed. B2 is very complex modular system. B2 exploring is really nice feeling.

[Sampleconstruct]

Quite interesting topic. Intentional or not intentional, the question is now..

Do You know how people in China choose name for the new born baby? They throw empty can downstairs, and they listen carefully.
If the sound was: tang-teng-chung-boing-tuss-peing, that was a new name, and the original one. Do you belive that was intentional?

LOL, that was a good laugh with my morning coffee (at 2 am).

[Andrew Souter]

A great KS review/video by Stereoklang:

http://stereoklang.se/2caudio-kaleidosc ... unlimited/

Thanks guys!

[Sampleconstruct]

Processing samples of a giant sound sculpture with large metal springs with Kaleidoscope/MXXX/B2/Relayer.

https://soundcloud.com/sampleconstruct/ ... -patchpool

[Loopy C]

Random 'tip'.

I have long desired to scan the image backwards in Kaleidoscope, and sort of found a way via 'scrubbing' (forgive me if there is already a known and less convoluted way to do this, I myself have not been able to identify that ability native to Kaleidoscope's native feature set).

Using Numerology 4 (sorry, Mac-only), you can set the master clock to be modulated (LFO ->ParamMod ->Master Clock/Tempo) and then load your audio file into the 'SampleKit-Basic' for playback (link it to transport under 'Misc' of SampleKit). I typically use 'Prime Number' pairs with the 'Dual LFO' module...like Period = 53/59)

Now, when you run that audio through Kaleidscope (audio playback will be continous, normal play of file), set Kalaidoscope 'Timing' to 'Free Time', and 'Frequency' to 0.01 to start. It now will scan forwards and BACKWARDS ('scrub') through the image!

hth