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CDP interface tool - read me

CDP sound design type-a Land of Bits

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#1 Land of Bits

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Posted 23 July 2017 - 18:03

Hi people im posting this because recently i started using the cdp tool for Renoise Which its awesome the amount of processes you can run to an audio file are to many to count :)

 

the main motive of this post its because even tough the cdp manual covers the description of all the process and how this affect your audio, for so to speak its a bit to technical and sometimes this process are quite complex and you need to adjust several parameters for the settings to apply in your file

 

im wondering if some of you guys use this tool in your day to day production, please post in this thread the main process you use for getting or creating original nu sounds.

 

so far ive only use the (Blur) and (Combine) process in some of my samples  but im preparing a pdf file containing detailed information  about this process and in which sounds they work better :)


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#2 OopsIFly

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Posted 24 July 2017 - 15:36

Currently resuming this beautiful hobby after a break, CDP will be part of my instrument/sound design.

 

Yeah, at first it seems really intimidating, like an eggheads sunday afternoon spleen without practical value. Also working with it is a bit spartan and sometimes unconvenient, I really hope the tool will improve to allow shortcuts, scripts for combining actions and firing with a single click, etc. I must say you will also have to have a clue what a phase vocoder, a grain mill, an amp envelope etc. are to be able to make good use of it. And not expect instant fun like with the standard effects, I rather see this as a complex tool that allows me to transform sounds in steps, each being no interesting for itself but combined they can be used to drastically transform material to your liking.

 

 

I had just started to explore cdp when I took the break from studying music, so I'm not really on a high level with it. I recommend you check out the following processes that can make interesting changes to material that aren't all too esoteric:

 

"formants - vocode": This will extract and impose the spectrum of a sound onto a second. For fun, start with a longer sound and pink noise of the same length. The order of sounds matters for the result. You need to set one of the "N" settings for it to work, I recommend the second set to "12", which will be 12 bands per octave.

 

"envel - Envel Impose - 1 ...": this does impose not the spectrum, but the amplitude envelope, start with a low wsize for dynamic material

 

Also the "distort - reform.." have interesting properties. They make very scratchy high end so you might want to filter it out and use only to generate low/mid material with it. Like ultra strong distortion but will maintain the dynamics of the sound, unlike a classical distortion unit that will flatten the amp env.


Edited by OopsIFly, 24 July 2017 - 15:38.

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#3 Land of Bits

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Posted 27 July 2017 - 18:23

Currently resuming this beautiful hobby after a break, CDP will be part of my instrument/sound design.

 

Yeah, at first it seems really intimidating, like an eggheads sunday afternoon spleen without practical value. Also working with it is a bit spartan and sometimes unconvenient, I really hope the tool will improve to allow shortcuts, scripts for combining actions and firing with a single click, etc. I must say you will also have to have a clue what a phase vocoder, a grain mill, an amp envelope etc. are to be able to make good use of it. And not expect instant fun like with the standard effects, I rather see this as a complex tool that allows me to transform sounds in steps, each being no interesting for itself but combined they can be used to drastically transform material to your liking.

 

 

I had just started to explore cdp when I took the break from studying music, so I'm not really on a high level with it. I recommend you check out the following processes that can make interesting changes to material that aren't all too esoteric:

 

"formants - vocode": This will extract and impose the spectrum of a sound onto a second. For fun, start with a longer sound and pink noise of the same length. The order of sounds matters for the result. You need to set one of the "N" settings for it to work, I recommend the second set to "12", which will be 12 bands per octave.

 

"envel - Envel Impose - 1 ...": this does impose not the spectrum, but the amplitude envelope, start with a low wsize for dynamic material

 

Also the "distort - reform.." have interesting properties. They make very scratchy high end so you might want to filter it out and use only to generate low/mid material with it. Like ultra strong distortion but will maintain the dynamics of the sound, unlike a classical distortion unit that will flatten the amp env.

 

brooo thanks a lot ...for sure I'm going to check this process so far...ive used this with good results....

 

Blur Shuffle - really good for pads and monophonic synth samples, it basically rearrange the sample according to abcd-dcba ..kind of segments.....also nice to run in some cymbal reverses and tonal hits.

 

the following process

 

Distort
- Distort Fractal
- Distort multiply
- Distort pitch
- distort reform convert to sinusoid
- distort reform exxagerate waveform
- distort repeat timestretch soundfile
- distort replace

 

I try all of this ....in drum samples and monophonic material....with various results depending on the source and the settings of course....but very pleasant :)...







Also tagged with one or more of these keywords: CDP, sound design, type-a, Land of Bits