Granual Effects

Granual synthesis isn't something new these days. Just throw in the words like "Malstrom graintable", and one would already know what I am refering to. Another tool, which comes with Fruity loops is the Granualizer. The benefits of the granualizer of FL is that is uses samples rather then a synth with a fixed amount of presets. I already explained somewhere in the past that it is an option to re-create the grains effect by using an NN-XT sampler in combination of the RPG-8. With this topic, I just want to focus a bit more about the series of effects we could create with using grains... since at some point, they can be rather interesting. So, let's hook up, grab some grains and start throwing them towards the speaker.

The Malstrom

As I initially stated, when thinking grains, we would think Malstrom inside Reason. Since it holds most of the keys on what granual is in this case, and it is easy to use and setup. With the amount of 'weird' looking voices, which we probably wouldn't be using most likely as a lead, we could easaly create some effects using grains. Just stack up a Modulator A, or B and throw some parameters to them and we are done.

One might need to understand what the grains do, what index is, and what motion does. Granual synthesis is like taking a complete sample (wav file, or AIFF file) and slice the whole thing up in smaller sections. At this point it is similar on a Dr Rex loop thing. However, the difference is the way that granual synthesis plays.

The synth will play the slices in a sequence, yet with different 'pitch changes' to correct the waveforms. Making it sound more gradual. Each "slice" is called a grain. Each single grain can be controlled by using different envelopes or effects. For the malstrom graintable we have effects such as shift and motion to control the grains. The motion controls the speed of each grain (and how fast the grains play in a sequence), yet shift pitches up a single grain.

To control the different grains we could use lfo parameters to change the grains position (which is in this case refered as "index"). It is kind of comparable with having a sampler and controlling the start position of the sample on the fly.

With this basic understanding about what granual synthesis is, we could use this to our advantage to make instruments, or sounds on the fly as we see fit. Since granual synthesis is a very powerfull tool to create something 'weird' from time to time. And that is probably why granual synthesis distincts itself from a normal way on playing a sound.

Just as a minor example, I have setup an example file where I am using a waveform called "additive wave #1". This sample usually sounds more like a pad kind of thing when playing it with a normal grain sequence. However, when reducing the motion (thus slowing down the sequence time on how the grains play), it starts to sound more like a cheap c64 sound effect.

By using an additional Modulator A, we could for instance control the index or shift (since those are the 2 parameters which in this case the Mod A can control). The index can be speeded up or slow down (thus increasing and decreasing the speed on how the grains play in a sequence). The shift makes the sound pitch up and down more or less. The benefit of shift though is that it does not slow down the sample as it usually would do with turning down the pitch knob for instance.

RNS Download: granual-movement.rns
MP3 Download: granual-movement.mp3

To create space inside the malstrom, it is an easy way to use the filter A and filter B slots and connect them to Oscillator A and Oscillator B. In this case Oscillator A will travel through Filter A (which is the Left channel) and Oscillator B through filter B (which is the right channel). To emphasis the space effect we could use methods suchs as tuning, or a different amount of motion to create the space inside the sound. As long as the sound is almost similar, yet somewhat different on the settings (not too much, since this will probably lead into a total different sound).

Yet, while we are at it, we now how a single ping-pong sound based on an additive wave inside the malstrom. There isn't much hot-wiring in this patch, and it is pretty straight forward. However, we could make things just a little bit more alive by using the same LFO (or modulator as it is called inside the malstrom) and connect it to the panning of the embedded mixer.

RNS Download: granual-movement2.rns
MP3 Download: granual-movement2.mp3

Another option would be using an stereo imager instead. However, I personally always find the stereo imager more dull since it is often very straight forward when it comes to the output (since it is controlled by the cross over frequency, and not by a pattern).

A different method would be using different patterns, and make them go faster or slower. It just depends on the type of effect you are going for. In most cases, I prefer to use the 'rhythmic' patterns work best when the pattern plays fast (high rate), while the smoother patterns (such as sine form and such) play better on a slow rate. Since these are more gradual and are often best to make really long and dynamic sequences for effects such as these.

RNS Download: granual-movement3.rns
Mp3 Download: granual-movement3.mp3

So at some point a granual synth would be an ideal method to shape something rather weird, dynamic and sur-real. Another method would be using a wave generator and slide shift the position of the starting point. At some point, Thor is most likely idea in this case, and specificly the following:

- Analog Oscillator and the Square form in combination with the Pulse Width
- The Wave form in combination with the Position change
- The Phase modulation and the Phase modulation amount

These mentioned types have a similar dynamics when it comes to shifting the sound along over time. For instance, connect an envelope to the pulse width, position change or Phase modulation amount woud be one method.

When we would look into yet another method to make granual sounds, we could for instance go for the Arpeggiator -> NN-XT method. Where the sample start point from the NN-XT is being connected to the Arpeggiator Velocity. Eventhough, I have explained this method before, I never gotten really in depth about it. To setup the Arp/NN-Xt method, one could use the Velocity of the apreggiator to make the sample start point of the NN-XT change over time. One setup would be doing it manually (Edit automation) either hook it up with some dynamic pattern (LFO/Modulation/Matrix pattern sequencer).

In this instance, I am using a longer sample from the Other samples section inside the reason factory soundbank. Most of the samples inside the other sound samples are often long sound effects, stabs or other effects. And will sound very common when hearing them. However, we could 'recycle' the sounds from any given bank, and throw in some grain effect such as the following 2 example songs:

RNS Download: Granual NN-XT.rns
Mp3 Download: Granual NN-XT.mp3

With this example, the sound is more contant in the background, and serves pretty well for a chill out tune sort of. It is kind of like a random piano banging sound in the beginning which can not be placed as being a piano... but it sounds 'odd' at some point. Sound like these may sound odd from time to time, since these kind of sounds are often used as a background noize effect yet rarely take the uphand, but would fill up the track very nicely (just mute the 2 combinator patches for instance and it would give a whole different meaning to this piece).

As the granual effect could also be manipulated using automation features from the combinator (or directly from the patches inside the combi), it is most likely that a custom sound that you are creating will often be changed during the progression of time, or re-used differently inside another production.

Just as a test case, I have setup the following song to demonstrate this:

RNS Download: Granual NN-XT2.rns
Mp3 Download: Granual NN-XT2.mp3

The method I am using in this song is the same, yet using a different sample attached inside the NN-XT and I am fiddling around with the frequency knobs and velocity. It gives a whole different meaning to the song when one would compare it with the previous song. First of all, the drum track is different, setting up a total different mood in this case. Next, the granual sound changes more often over time (and more noticable in this case).

Granual effects are probably also good for sweeping effects, combined with an lfo parameter connected to the Velocity changes (as long as the velocity is connected to the sample start point that is, otherwise this won't work). For instance if you would take a longer sample that is based on a synthesizer sweeping pad sound. One could use the sample start point of the grains to move up and down, rather then using a filter knob in stead (which also works offcourse). The difference between the granual method, or the normal play sample and connect it to the filter method would be that the sound itself could become more metallic either more surreal. Since we are basicly repeating the same notes, with a longer release while the start point of the sample changes over time.

In this example, I am using the pad sounds form JP4 filter pad (nn-xt -> Pads -> JP filter pad) section. By loading up two times the same sample, we could for instance create depth inside the sound itself by using a different tune setup for each different sample. For instance, the first sample goes left with a minus tune, while the other goes right with a plus tune. For instance:

Left channel (first sample)

Right channel (second sample)

As a stable sound effect it would come out as the following effect:

RNS Download: Granual NN-XT3.rns
Mp3 Download: Granual NN-XT3.mp3

What also is an option here to do so, is to create a difference into the starting point of the sample which is in this case connected to the velocity. This would definitly mean that the 2 different channels are seperated from eachother. This would be a similar effect when using a malstrom and create a bunch of spread on the master out, and use a different motion setting on Osc A and Osc B.

RNS Download: Granual NN-XT4.rns
Mp3 Download: Granual NN-XT4.mp3

However, the only sad part is that there is not really a volume glide part with a technique like this on the using the velocity, since the velocity is connected to the arpeggiator in this case. The only few workarounds would be using a LP12/LP24 filter cut off and connect that to the final mix. And use the programmer of the combinator to sligthly move the threshold of the filter up (so it filters in, and thus this will result into a gradual output increase in volume aswell). Or, one could tie the master volume knob of the nn-xt and connect it to one of the rotaries inside the combinator (using the programmer part). In this case the rotarie could act as a volume balancer.

So there are multiple way to solve that part.

Setting up a granual effect using the NN19 and the matrix pattern sequencer

The cool thing about the nn19 is that this device has a sample start point as a single knob. What we could do is use this single knob to be inner connected to a matrix pattern sequence curve. To set this method up, we will have to create a combinator, add a nn19 sampler, add a matrix pattern sequencer (without its default connection), connect the curve from the matrix pattern sequencer to the rotary 1 of the combinator.

Then open up the programmer of the combinator and connect the Sample start of the NN19 to the rotary 1.

In this setup, it will mean that the matrix pattern curve is now inner connected to the sample start (and it will visually show this inside the rack aswell). The only thing that remains is the curve itself. In the next example file, I am using a simple method of changing 5 different patterns where most of the patterns are 4 bars in length. I just randomly picked the pattern, so there is no "thought" behind it, but it is the idea that matters. Since at some point we could create something rhythmic again, by using a single solo sample which plays a complete sequence over time.

RNS Download: different-method.rns
Mp3 Download: different-method.mp3

The cool part about using this kind of method is that it works as well as having a lead, or something that plays in the background. It is all about how the EQ'ing is handled I guess, and how present the sound would be. But in most cases it will probably sound pretty much glitchy at some point. Which also has its charm.

However, when it comes to granual synthesis, one might get most benefits from the Malstrom. However, from time to time, one might need a single sound sample to achieve the same sound effect one is looking for. Just to sum things up, I am going to conclude this part with a more or less "complete" sequence. This one is more based on Granual synthesis coming from the malstrom itself. However it just shows how powerfull it can be to throw in a bunch of grains and throw them all up in a sequence. Notice that I am using sounds as "Metal Cans" and "Thunder" to create these effects ;)

RNS Download: granual-effects.rns
Mp3 Download: granual-effects.mp3

In addition here is a piece I have worked on this afternoon(12th december), which uses a lot of malstrom grains and moving around on the grains while the song progresses over time:

RNS Download: granual-malstroms
Mp3 Download: granual-malstroms