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.