Grain Delay

Article Preview :: Ableton Live Notes


Technique : Ableton Live Notes


Len Sasso
1: A Grain Delay embedded in an Audio Effects Rack with its controls mapped to the rack’s Macro knobs. I’ve colour coded the controls by function: orange for grain settings, green for pitch, blue for delay and yellow for output. Spray (top-left) is actually a delay setting, but its effect is to add jitter to the grain spacing, so I think of it as a grain setting. The numerical box next to Grain Delay’s Sync/Time button has different functions and separate mapping assignments in Sync and Time modes, and I’ve dedicated a knob to each.
1: A Grain Delay embedded in an Audio Effects Rack with its controls mapped to the rack’s Macro knobs. I’ve colour coded the controls by function: orange for grain settings, green for pitch, blue for delay and yellow for output. Spray (top-left) is actually a delay setting, but its effect is to add jitter to the grain spacing, so I think of it as a grain setting. The numerical box next to Grain Delay’s Sync/Time button has different functions and separate mapping assignments in Sync and Time modes, and I’ve dedicated a knob to each.
If you’ve experimented with Live’s Grain Delay Audio Effects plug-in or used other granular synths and effects, you may be left with the impression that granular processing is chaotic, hard to control and mainly useful for creating sound effects. However, with a little care in choosing your settings, you can use Grain Delay to achieve subtle and very musical results that are beyond the reach of other types of effect — and that’s what we’ll be looking at in this month’s article.
...

That's all folks!! To Continue reading...

Option 1:  Login to open this eSub article
  • To access the full-length version of this eSub HTML web article (with images), enter your registered Subscriber PIN (or Email) plus your registered Password into the LOGIN box at the top of this page.
  • Your eSub does not include free access to PDF articles. You should buy and download them if required (see below).
Option 2:  Buy this SOS article in Adobe PDF format
  • Buy this article now for $1.49 and immediately download the electronic PDF version to your computer.
  • PDF pages look identical to the printed magazine layouts but exclude advertisements
  • Click the "Buy PDF" logo below to make your purchase

 

What's my Sub PIN?

If you have a print subscription but have not yet activated your eSub online access, please inform us and email your name/address details to: subscribe@soundonsound.com

SOS staff will verify your subscription status, activate your online access and notify you of our actions.

I am NOT a Subscriber
  • SOS locks most recent magazine web articles for 5 months after they go live on our site. Then we unlock most articles and make them publicly available — some remain locked and require an active subscription to read them online.
  • Buy a subscription to open eSub articles (see offer below).
  • Alternatively, buy Acrobat PDF magazine article files for 0.99 GBP (99p [USD $1.49]). Just click the  Buy PDF link at the top-right of the web pages to purchase/download PDFs (credit cards and PayPal accepted) or select them from this Shop pagethis Shop page
What is the lowest cost to Subscribe?
A 3-issue eSub web subscription is great value at only £ 9.00 GBP [US$ 13.50] and it lets you instantly read the current and next 2 online magazines — PLUS it unlocks ALL past eSub issues during your sub period.
More eSub info...

 



DAW Tips from SOS
 

Email: Contact SOS

Telephone: +44 (0)1954 789888

Fax: +44 (0)1954 789895

Registered Office: Media House, Trafalgar Way, Bar Hill, Cambridge, CB23 8SQ, United Kingdom.

Sound On Sound Ltd is registered in England and Wales.

Company number: 3015516 VAT number: GB 638 5307 26

         

All contents copyright © SOS Publications Group and/or its licensors, 1985-2012. All rights reserved.
The contents of this article are subject to worldwide copyright protection and reproduction in whole or part, whether mechanical or electronic, is expressly forbidden without the prior written consent of the Publishers. Great care has been taken to ensure accuracy in the preparation of this article but neither Sound On Sound Limited nor the publishers can be held responsible for its contents. The views expressed are those of the contributors and not necessarily those of the publishers.

Web site designed & maintained by PB Associates | SOS | Relative Media