![]() The plainest option is input-modulates-input, which goes from a phased-type sound at low intensities to a crunchy, gritty distortion as the intensity is increased. This can work particularly well with rhythmic parts and loops.Īt all strengths, the sound is heavily influenced by the algorithm being used. Getting the effect amount perfectly balanced around this point can create some hugely dynamic effects, as small changes in the input signal lead to big timbral changes in the plug-in’s output. Phase Mutant has a similar characteristic in that, at low strength settings, the effect can be quite harmonious and musical, but as the intensity and amount are increased a point is reached where things flip quickly into dirtiness and mayhem. If you’ve ever programmed an FM synth, you’ll be familiar with how, when increasing the level of an FM modulator, you hit a threshold beyond which the onset of dirt and distortion is rapid. The step sequencer always syncs to your host DAW, but unfortunately does not also have a freewheeling mode.īLEASS Phase Mutant LFO + EG Hybrid sounds This allows you to create highly complex, constantly changing modulations that are nonetheless rhythmic and looped. The step sequencer is an advancement of the Motion Sequencer found on BLEASS’ Alpha, Omega and SampleWiz 2 synths, allowing you to add differently-shaped curves to each step of the sequence rather than just static values. There is no threshold level for this trigger instead, a gain control is used to adjust the sensitivity. The envelope generator is of a simple attack-release variety and is triggered by transients in the input signal. The LFOs offer a range of six waveforms and can run freely or be synced to your DAW. Each can be mapped to any two of Phase Mutant’s parameters. In Phase Mutant, that modulation strength is determined by an intensity setting – light, medium or extreme – coupled with an Amount dial that gives finer control within the chosen intensity setting.īorrowing from BLEASS’ stable of instruments, Phase Mutant includes two LFOs, an envelope generator, and a step sequencer, all of which act as modulation sources (parameter modulation, that is, not frequency modulation!). And, as in FM, the overall sonic impact is determined by how strongly the modulator is modulating the carrier. In essence, the first item in each pairing is the modulator and the second is the carrier. Phase Mutant’s three different routing options – input modulates oscillator, oscillator modulates input, and input modulates input – are treated as FM algorithms. The plug-in can also shift the phase of the left and right channels in order to create stereo widening effects.īLEASS Phase Mutant sequencer Modulating the modulation More tonal changes can be created by changing the oscillator’s waveform, which can morph from a sine wave, through triangle and sawtooth waves, to a square wave. The speed at which the oscillator’s frequency changes can be further controlled with attack and release controls. The tracking response time can be adjusted too, which at low settings helps to smooth out small pitch fluctuations, and at higher settings causes the oscillator’s pitch to lag behind the input pitch, to fascinating effect. The pitch detector can affect the left, the right, or the summed left and right channels of the input signal. ![]() Although this does create useful changes in the resulting sound, especially when the parameter is being modulated or automated, it’s a shame it isn’t possible to dial in a bigger pitch offset too. ![]() And, in good ol’ FM style, this base frequency is then multiplied by a pitch ratio, with different ratios resulting in different harmonics being introduced into the effected signal.Īn additional +/- 50 cent tweak of fine-tuning can be dialled-in to the oscillator’s pitch, too. The base frequency of Phase Mutant’s oscillator is tracked from the input signal so that it always maintains a pitch relationship to that signal. ![]()
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