![]() KONTAKT VST SERIESThe majority of the 111 Interference waveforms were recorded by us, in an attic, with a 60-foot antenna loop and a real-life shortwave receiver, over a series of long nights where we searched for the strangest things the airwaves had to offer us. These long samples – usually between 20 and 30 seconds each – have randomised start points, so repeated notes will key the sample from a new point each time, adding further to the complexity and non-repeating character of the waveform. These can be blended into the sound, and subjected to their own Randomisation controls, which randomly vary their amplitude independently of the Sines, fading them in and out of the range of hearing in a totally organic way. KONTAKT VST CODEEach of these selects between 111 long, looped samples of “interference” – everything from basic hiss and noise, through periodic, cyclic effects, to tuning squeals and shrieks voices, numbers stations, and Morse code signals distorted carrier waves, strange atmospheric anomalies, and other tonal weirdnesses. The second section of its sound generation engine comprises the two Interference Generators. The Fundamental can be distorted, giving it further triangle-wave-style overtones, and by carefully tuning the Harmonic waves, a crude approximation of different classic synth waves can be managed.īut to treat Shortwave as a conventional synth is to miss the fun part. These can be adjusted in pitch and level relative to each other, increasingly randomised using dedicated random LFOs, or locked to cyclic variations imparted by the Periodic Fluctuation generator, which acts as a master LFO across all the sines. First of these are the four Sine generators: one Fundamental and three Harmonics. Shortwave patches are built from two key sections. It excels at unusual, drifting, evolving textures, pads infused with the background hiss and atmospheric static of the aether, and cinematic ambiences that pull you away from the normal and out into the upper atmosphere. It allies a four-operator additive synth engine based on analogue, unstable sine waves to two “interference generators” that bring the power of the uncharted shortwave spectrum to bear on your sounds. Shortwave is a chaotic, randomised, unconventional soundscape-generating synthesiser. We’ve sought them out and brought them home. They have a strange and compelling power, calling to us, luring us further and further out…Īnd then there are the disembodied voices, auditory glimpses of ham radio operators in dusty attics, forgotten cold-war numbers stations broadcasting codes to embedded spies, late-night broadcasts from a hundred countries all vying for a scrap of bandwidth to call their own. Somewhere out there in the night sky, lurking between the signals, are the real sounds of shortwave radio: the tuning squeals and howls the strange, pulsing, stuttering waveforms the cyclic, droning hums the hiss and roar and crackle of cosmic radiation hitting the ionosphere. Many of these noise sources could become energising backdrops for your otherwise pristine, in-the-box musical output” – Sound on Sound magazine These are noises harvested from the amazing sonic resource that is shortwave radio. “Shortwave is crammed with ghostly voices, radio tuning sweeps, Morse code bleeps, crackles and pulses… Prepare to be captivated by mysterious numbers stations, disembodied wails, warbles and mangled snippets of exotic chatter drowned in a sea of cosmic static. “The interface is deep and powerful, and the drones and ambiences you can come up with are seemingly limitless.” – Computer Music magazine “Shortwave sounds amazing… Thanks so much, and keep creating inspiring stuff” ![]()
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