Spectral Madness: Controls
A. FREEZE button. This latching button stops the recording of incoming audio. Granu-
larization is now performed on the last few seconds of audio kept in memory in the
module.
B. Blending parameter/Audio quality button. Selects which of the blending parameters
is controlled by the BLEND knob and CV input, or selects one of the four audio quality
settings.
C. Load/Save button. See the “Advanced topics” section in the original manual.
D. Grain POSITION. Selects from which part of the recording buffer the audio grains are
played. Turn the knob clockwise to travel back in time.
E. SPECTRAL WARP (SIZE), warps through a selection Polynomial functions, shifting
and wrapping freuqencies. 12 o’clock is neutral. CW raises spectrum, increasing
apparent pitch and CCW lowers spectrum, decreassing apparent pitch.
F. PITCH (transposition). At 12 o’clock, the buffer is played at its original frequency.
G. Audio INPUT GAIN, from -18dB to +6dB.
H. TEMPORAL QUANTISATION (DENSITY) controls the fresh rate of FFT analysis, 12
o’clock is fastest. This is fastest enough to keep up with fast moving spectral move-
ment, such as percussion. CCW slows refresh until it’s nearly static and almost freezes
the spectrum. Beyond 12 o’clock it adds phase randomisation, creating a smearing,
chaotic, reverb-like effect.
I. SPECTRAL QUANTISATION (TEXTURE) controls the resolution of the FFT through the
number of frequency bands. At 12 o’clock it is at it’s finest and finely spaced. Turning
CCW lowers the resolution and has the bands become increasingly quantised.
Spectral Madness: Explanation
A phased vocoder which uses FFT (Fast Fourier Transform) to b reak sound down into
spectral bands, transform the spectral information then resythesis this back into sound.
REF: https://www.youtube.com/watch?v=eF5m4yryhXU
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