| Neuron Resources Revival - The Resynators | ||
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 The Resynators Neuron features two resynators of identical design. Though comparable to a subtractive synthesizer's oscillators, each resynator contains one of the models described above rather than the basic waveforms found in a subtractive synthesizer's oscillators. Models may be selected freely for each resynator. The given pitch (octave / semitones / cents) is assigned to the selected model in the resynators. Models are subdivided into regions called scapes and spheres. A scape puts all parameters associated with the formative qualities of a sound at your disposal, for example, the vibrations of vocal cords or a string. A scape serves to determine inherent attributes, for example, whether the sound is the product of a chaotic, disharmonic or harmonic oscillating system. By sphere we mean extrinsic sound-shaping factors, that is, the environmental conditions under which the sonic event occurs. This can include spectral processes, formants, resonance, sound absorption characteristics, and so forth. The actual manipulation of a model - that is, invasive sound-sculpting - is performed in real time using the stick controller. The stick morphs between two opposite sonic attributes, and it does this selectively by scape or sphere and parameter level. This process is best explained using an example: Say resynator 1 contains a model called Flute. The neural process assigned the following scape parameter sets to this sound: Level 1 metal / wood and large / small. These parameters are placed in opposition to one another as shown in the illustration. The woodiness and size of the flute can be varied dynamically by joggling the stick. Level 2 is assigned wide / narrow and clear / rough. Level 1 settings remain enabled when this second level is selected, and the parameters offered at this level can be influenced in the same way. This means that you can edit the width and roughness of the flute's sound on the fly. The same operating principle applies to all models, whereby their unique and individually generated parameter sets are addressed separately in each model's scape and sphere. This lets you do things like control the speed of a drum beat model in connection with the width or the metallic timbres of a sound. Presence may be manipulated in connection with the width of a pad sound. You can change the sound of a piano radically by varying the size of the instrument and bending the frame holding the strings as the instrument shrinks or expands. And these are just a few of the untold configuration and manipulation options. Scape and sphere parameter editing can be performed at every level via a "hard-wired" ADSR envelope. As an alternative, stick movements can be recorded in real time and applied selectively to control the parameters of level and scape or sphere. This lets you program extremely lively, vibrant modulations as an integral component of a sound. |
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