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Descarga 10 min. Descargar ahora. Group mode, described earlier, enables analogue-like vocoder effects to be emulated by arranging the filter bands into a relatively small number of groups and of course there's a sync option for relating internal effects to the tempo of the song playing in the host sequencer. For live use, there's a special low-latency mode which sacrifices some audio quality for speed. The Edit button on the main panel allows subsequent windows to be opened for editing, and these are arranged as sections of one large window, so if you open too many at once, the entire window may not fit on the screen without scrolling.

Bringing up the Mix window allows the various vocoder outputs to be mixed in any combination, while Out allows a graphical EQ envelope to be applied to the output signal. Here you can see a spectral representation of the output signal with the EQ envelope above it; new breakpoints can be added by holding Ctrl and clicking. Tape shows the file player window if input A is set to Playback, and it's a simple matter to browse your drive and drop a file in for playback, though choosing a file at the wrong sample rate will result in playback at the wrong pitch.

FX buttons for inputs A and B access the effects that can be applied to the two signal paths before the signals are vocoded. The post-vocoding compressor is a straightforward ratio compressor in most ways, but has an additional 'shape' parameter that makes the compressor frequency-dependent so that the high end can be compressed more than the low end, or vice versa.

There's no gain-reduction meter, so everything has to be set by ear. The input dynamics sections are somewhat different and comprise a gate, which is pretty self-explanatory, plus a More control.

More splits the incoming audio into short 'frames' and then normalises the level of each one so that the vocoder has the maximum possible level to work with at all times, which is important if you wish to retain the dynamics of the other input. By contrast, the synth see box on next page is rather more sophisticated than it looks and can operate in two modes: as a waveform-based synth and as a sample player. A miniature on-screen keyboard may be called up for testing sounds without the use of a hardware keyboard, and this includes a chord memory function to make up for the lack of polyphonic mice!

A separate window accesses LFO and other modulation facilities, and the modulation sources include two 'step sequencers' that work rather like old analogue sequencers and offer from two to 32 steps. The modulation capabilities of this synth are quite extensive, with each source able to control a list of possible destinations. When the file player input source is selected, sounds can be played directly from a file on the hard drive without it having to be imported into a sequencer track.

Start and end loop points may be added for continuous looping and there's the option to start and stop playback using MIDI Note On and Note Off commands, though the pitch of the file being played back is not controlled by MIDI.

I did my testing with Vokator using Logic 6 running under OS 9. Vokator was also quite happy using another virtual instrument as one of its input sources, as an alternative to an audio track. It does increase latency when used in high-power mode with lots of frequency bands, but not as alarmingly as I expected it to, and because of the nature of vocoding, it is likely to be used most heavily after recording, at which stage latency isn't a problem providing your host sequencer offers plug-in delay compensation.

The vocoder section is capable of extremely good articulation, as you'd expect with so many bands, though there's something charmingly 'right' about the classic vocoder sound that you get when you switch the filters into groups. A number of presets are thoughtfully provided, so new users don't have to learn everything in depth all at once. Traditional vocoder effects are pretty standard stuff these days, but you can still use them to get new and interesting sounds by using them on other sound sources than the human voice, especially when you have this many filter bands to play with.

The integral file player is a novel idea as it allows you to use any sound source as one of the inputs and retrigger it from the start whenever you press a key. The synth section is also more powerful than it looks and the waveform generators in particular have a tough, assertive quality that can be brought out even more by the application of ring modulation and FM.

I like the way you can watch the wave shape change as you make adjustments and the same is true of the filter and level envelope settings. Using the synth in sample-player mode is also interesting. It isn't a fully fledged sampler as you can only load in one sample, but the way the speed control lets you scan through the sample slowly in either direction to create granular synthesis effects is both clever and very intuitive. Again, the display shows you exactly what is going on.

The dynamics and graphical EQ effects are fairly straightforward, and the ability to continually normalise incoming audio levels to keep the vocoder running at maximum signal level is definitely a good feature. The chorus and delays are intuitive enough, though the spectral effects are anything but familiar.

You really have to play with these to get a feel for what they can do, so existing owners of NI's Spektral Delay are at an advantage here. It is possible to create subtle effects using these frequency-domain treatments, but at more extreme settings the sound is changed to such an extent that it can become unrecognisable. Furthermore, when you throw in the spectral effects, the granular synthesis and the synth preset morphing and the vocoder, it's very easy to end up with a sound akin to a heavily flanged fax machine being thinly sliced by an angle grinder, so the secret to creating usable sounds is not to use everything at once!

I felt that for most part, the user interface was pretty good and largely intuitive, but the routing and mixing page could have been improved. In fact I'd have liked a master page that looked something like the block diagram in the manual where you could click on sections to bring up the relevant editor pages, and where the mixer section was set out like a conventional mixer with full level control over all the possible sound sources.

Nevertheless, you soon get used to the adopted system. Vokator's synth section can be used in oscillator mode or can create granular synthesis effects using an audio sample as its source. It's also possible to morph between presets, though these must all be of the same type — oscillator or sample.

A morph comprises five complete synth presets, and morph files may be saved separately. The morph fader may then be used to move smoothly from one preset to the next, or alternatively, MIDI Controller 1 may be used to control the morph rate externally.

When the oscillator synth mode is being used, there's an arpeggiator function with a choice of note lengths and styles, all rates being related to the host sequencer tempo. Different velocities may be drawn in for each arpeggiator step. The synth oscillators are presented as square panels with an oscilloscope waveform display in the centre.

Four sliders on the edges of the first square allow the user to continually adjust the waveform shape through sine, triangle, square or noise, to adjust the harmonic content of the oscillator, the waveform symmetry and the amount of detuning.

The second oscillator is similar except that the Detune slider is replaced by an FM slider allowing oscillator 2 to be frequency modulated by oscillator 1. The synth's mixer section also allows the two oscillators to be ring modulated, after which comes an LFO section that can be used to modulate not only pitch but also harmonic content, FM depth and wave shape.