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Galbanum wrote:Chord harmonics equal temperament. So various chords in equal temperament and all harmonics of the particular chord.

(Techincaly it is no longer really necessary to include harmonics in the scale itself bc the harmonics button can do this. At least up to 64 harmonics. But these scales were created before this feature. Or even before KS in some cases. )

Most of the scale tunings have comments/info in them they should explain more about each tuning. This is displayed on the info page of the gui for those would would like more detailed info.
thanks
so are these sort of overtone scales then?
overtones for each note in the chord?

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Harmonics = partials = overtones more or less. So yes.

Technically harmonics = overtones and start at 2, 3, 4... And 1 would be called the fundemental and not really properly called a harmonic/overtone.

Partials start count at 1,2,3... And theorectically partials actually don't have to be exact integer multiples.

So these particular sales have the fundemental and all harmonics for the various notes in the specified tuning plus all harmonics of these notes.

Then sorted. Then duplicates were removed (as I a remember. It was some time ago.)

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Galbanum wrote: As mentioned we will iron out any minor host/hardware/buffer/retina-display/etc. issues during the intro promo so you all have a fair chance to try it without any speed bumps etc.
Let me know as soon as you get that stuff ironed out, specifically hosts and buffering stuff. While I think the product itself is awesome those things were getting in the way of me enjoying it!

That said I am looking forward to creating all kinds of crazy feedback loops and routing with this :tu:
SW: Cubase 9.5 | Komplete 11 | Omnisphere 2 | Perfect Storm 2.5 | Soundtoys 5
HW: Steinberg UR28M | Focal Alpha 50 | Fender Jazz Bass | Alesis VI25

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Has anyone mentioned the pop-crackle one gets when just mousing around with the UI open? I've noticed that in Live 9 (32bit) I get this a lot.
Zerocrossing Media

4th Law of Robotics: When turning evil, display a red indicator light. ~[ ●_● ]~

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Regarding the Cubase 8 issue of not being able to select tunings or images, it appears to work fine in Cubase 7.5. I'm inclined to believe that the problem was introduced by the upgrade to Cubase 8 or perhaps 8.05. There is a similar, documented bug on the Steinberg forum regarding similar behavior with all FXpansion plugins. Fingers crossed for a quick fix on Steinbergs end.
In rotation here: Hammock- Stranded Under Endless Sky

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I also beta-tested KS on Cubase 7.5 and never came across that problem.

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Yep. It's working like a charm on 7.5 as I type. I've been experimenting with the 2010 waveforms for tuning. Getting some interesting thing with just my current random approach. :tu:
In rotation here: Hammock- Stranded Under Endless Sky

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some tips:

ProTools:

check the box: "ignore errors during playback/record" in Setup/Playback Engine menu

Logic:

uncheck the box ‘Display audio engine overloading messages’ in Preferences/Audio/General

to get rid of nagging cpu overload messages.

Regards,
Denis (2CAudio)

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So many hints and tips, would be great to collect them somehow

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I would imagine that, indeed, the tips and tricks will be collected, either by Andrew and Denis, or by one of the helpful members of the KS user base.

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Yes, absolutely. We will post tips, tricks, videos, etc. I just got back into the office after being at NAMM and can explore this stuff starting today! :tu:

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Ploki wrote: B2 is so good. I mean, b2 is the lushest, densest, sweetest and velvety reverb I ever tried.
Thanks man. We think so too! :tu: Many have tried to dethrone it, but the way I still see it:

https://www.youtube.com/watch?v=-Ci44G8j1F0

:D

Some use less CPU resources, but none match or surpass it in sound quality and versatility.

Feed some KS material into B2 for instant nirvana. :tu:


BTW, to be explicitly clear: all of our verbs remain a major focus for us. KS represents the start of our creative line. It complements perfectly our verb line. It does NOT replace it. Both are extremely important to us. We expect to start major updates to the verbs later this year. Until then I still believe with all of my heart that our verbs are among the best in the industry as they are today and there is no compelling reason to rush out any new features. Aether as it was released in 2010, and B2 as it was released in 2012, and Breeze in 2011 still kick butt in 2015 IMHO...

(Actually we will have an imminent update to all verbs that fixes an issue with VEP that some scoring people found a while ago. But no new features quite yet.)
Ploki wrote: I just wish it would work in surround. :?
have to fallback to space-designer for surround needs.
When you wish upon a star, makes no difference who you are... dreams can come true., it can happen for you.. (is that two Disney songs or one? hmm.... not sure... :hihi: )
Ploki wrote: I really really want Kaleidoscope too, I've been wondering for half a year what are they brewing up on the trashcan Mac Pro.
Thanks! :wink:

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In this video I am using an imported waveform (derived from an oud tremolo) for the tuning of the resonators, and the resulting drone is processed with crusherX and VRoom, changing things on the fly, quite mysterious, a lovely combo for sure:

http://www.youtube.com/watch?v=jwTNRUU41sg

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Sampleconstruct wrote:and the resulting drone is processed with crusherX and Vroom...
Traitor! Heretic! Burn him!! :D

Ok fine, you can use other people's verbs if you want too... :D I guess this is part of "playing nice with others"... :hug:

sounds quite cool... :tu:

BTW, a note regarding tunings: there are only 512 possible different frequencies supplied by a tuning. If you use Partials, and Duplicates this distinct number of frequencies is effectively divided by the number of Partials.... So if you have have Partials = 1, and Duplicates = 1, you still have 512 distinct "notes". But if you have Partials = 32, and Duplicates = 16, you will you will really only be using the very first ratio in the tuning since 512/32/16 = 1

So in your example you will note the tuning sounds like the harmonic series. This is bc it IS the harmonic series (and only the harmonic series) due to the use of a high number of both Dups and Partials. If you were using a scale tuning, most are created such that the first ratio is 1.0. So the scale would have no effect on tuning in this case since you are only really using the first ratio. When using waveform tuning, you would only be using the first sample/ratio in the waveform, and so this would only really change the overall base frequency of the whole spectrum.

Does that make sense, or should I try to explain more clearly?

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Galbanum wrote:
Sampleconstruct wrote:and the resulting drone is processed with crusherX and Vroom...
Traitor! Heretic! Burn him!! :D

Ok fine, you can use other people's verbs if you want too... :D I guess this is part of "playing nice with others"... :hug:

sounds quite cool... :tu:

BTW, a note regarding tunings: there are only 512 possible different frequencies supplied by a tuning. If you use Partials, and Duplicates this distinct number of frequencies is effectively divided by the number of Partials.... So if you have have Partials = 1, and Duplicates = 1, you still have 512 distinct "notes". But if you have Partials = 32, and Duplicates = 16, you will you will really only be using the very first ratio in the tuning since 512/32/16 = 1

So in your example you will note the tuning sounds like the harmonic series. This is bc it IS the harmonic series (and only the harmonic series) due to the use of a high number of both Dups and Partials. If you were using a scale tuning, most are created such that the first ratio is 1.0. So the scale would have no effect on tuning in this case since you are only really using the first ratio. When using waveform tuning, you would only be using the first sample/ratio in the waveform, and so this would only really change the overall base frequency of the whole spectrum.

Does that make sense, or should I try to explain more clearly?
I see, there was no CPU left to run B2 in real time, and VRoom sounds very cool indeed. And at least the first ratio was derived from an oud sound then, better than nothing :D - back to the experimental lab...

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