Cube 2
Spectral morphing resynthesis
The structure of sound
CUBE 2 is a musical instrument and the
ultimate tool for sound designers who
wish to have instant and intuitive
access to all principal components every
imaginable sound is build from. Every
sound can be decomposed in a sine
spectrum representing the harmonic and
inharmonic partials and a residual noise
spectrum for the noise components. The
spatial character of a sound can be
represented by a pan spectrum. The
temporal evolution of these three
spectra is a very convenient way to
describe every sound. CUBE 2 is built
around this model and allows you to
manipulate the structure of a sound with
all its components in a comfortable and
musical way |
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Resynthesis
Take a sample as input and CUBE 2
analyzes it into two components: up to
512 sine tracks for the partial
components and the residual spectrum for
the noise components. The outstanding
quality of the analyzer for a broad
range of sounds avoids the typical
artifacts known from time
stretching/pitch shifting and granular
algorithms. |
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Spectral editing
The spectral editing windows are the
heart of CUBE´s sound manipulation and
creation capabilities. They give you
deep access to the sound components
described before. Imagine drawing a
bandpass filter or comb filter structure
directly into the spectrum display !
Zoom into the spectrum to manipulate it
down to a single partial. You can use
“Contrast” tools to enhance or reduce
the frequency or amplitude modulations
of the sound in selected areas of the
spectrum. And all editings are
immediately audible.. |
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Time warping
CUBE´s
unique time warping envelope gives you
control over the timeline. You can
simply reverse the sound, freeze it at
any position or manually move around the
sound for scratching effects. Or create
an arbitrary moving with up to 64
breakpoints. |
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Morphing
T he
next level of sound manipulation in CUBE
2 is to take up to four sound sources
and make all parameters and spectral
components move inside this “cube”. Take
for example a flute like sound as one
source and a trumpet like sound as
another source. The result is a sound
morphing from flute to trumpet ! The
movement can be made automatically with
the morphing envelopes or manually by
using MIDI controllers or the mouse. |
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Source editing
Each of the four
sound sources allow for another level of
controlling the sound. The levels,
attack and decay times, pan positions of
every partial can be globally edited
here on a more abstract level. You can
use a global filter with arbitrary shape
on this level which takes also part in
the morphing process - a comb filter in
Source A can for example morph into a
lowpass filter in Source B. |
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Features:
° 8 independent additive synths
- four morphable sound sources
- 512 partials per voice
- harmonic/inharmonic spectra
- arbitrary noise spectra
- morphable filter banks
- ensemble
- 3 Envelopes with tempo sync
- 64 time/level segments per envelope
- 2 LFOs
° Resynthesis
- AIFF/WAV sample import
- Sine spectrum
- Residual spectrum
- Pan spectrum
- Spectral editing
- Time warp envelope with 64 breakpoints
° 8 Effect racks
- Chorus/Phaser/Flanger
- Distortion
- Echo/Delay
- Reverb
° Arpeggiator
° System
- standalone and plugin
- VST and AudioUnit support
- Scala compatible Microtuning
- Up to 8 independent outputs
° User Interface
- Unique design
- MIDI learn function |
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Simple analog synth sample
resynthesized... |
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After drawing a resonance and
comb filter structure... |
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Added a comb filter to the pan
spectrum... |
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And now morphed to another
source ( Bassflute ) ... |
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For PC
& MAC
System
requirements PC:
° Pentium III 600 Mhz processor or Athlon XP/MP
(SSE required !)
° 256 MB RAM
° Windows XP
° 16-bit Soundcard with DirectX/ASIO driver
System requirements Macintosh:
° PowerPC G4 400 Mhz (Altivec required !)
° 256 MB RAM
° Mac OS X version 10.2
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ATTENTION !
CANTOR runs only on SSE/Altivec compatible CPUs: Pentium III/IV, Athlon XP/MP, Apple G4
The Demo songs:
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Last Updated
Monday, August 27, 2007
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Copyright © 2006 by VirSyn/STG Distribution
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