This link has two essays that are worth reading. I recommend reading some more about how people compose with it and why they use it. Therefore you could theoretically get better quality. I would rather let a DSP programmer explain why non-realtime processes are better for this kinda stuff but I imagine it has something to do with a more modular flexibility allowing a combination of processes to be developed that are tailored to the material without needing to keep the algorithms fast enough to run in real-time. These techniques have been around for a while but as far as I know there is nothing out there that offers the flexibility and power of what CDP offers BECAUSE it offers them as non-realtime processes. The reason people keep bringing up the real-time / non real-time argument is because it is an essential element in evaluating CDP. I've spent a lot of time scratching my head over the way Sound Loom and Sound Shaper approach combining the CDP functions into a GUI. I think if you are comfortable with command line batch processing then there is no question you can get something out of CDP.
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It also requires an investment in learning how to use the quirky interfaces. It is something that requires an investment in learning more than most plugins designed for quick results. What I have seen is the possibility of what I can do when I understand more about how the combination of parameters and approaches offered by CDP work together on specific audiofiles. However none of these plugins go as deep as CDP or allow as many parameters and functions to be readily combined. With the handful of hours i've put into CDP so far I would say I have not managed to achieve anything I haven't achieve more immediately with Spectrumworx, Soundhack or the Michael Norris plugins. I think if you just fiddle around for an hour or so. Is cdp still better sounding/ unique tool compared to other programs/plugins?Īnd I think you aren't going to get any useful answers from this question because it depends on what you do with it as to whether it is better sounding or unique.Ī better question might be "Can I achieve better sounding / unique results with it compared to other programs/plugins?" This was not the case with some of the previous versions- installations and you can imagine it was a p.i.t.a One feature that speeds up things is that you can listen to the fft analysis without having to resynthesize them first. ana for example are quite big (bigger that the respective wav ! )Īs for the time it takes, it depends a lot on the length of your initial file and the involved process. wav but for crossynthesis it is good to have a library of analyzed files.īut there are many file types you have for example. For some situations you might only need to save the. I've never use soundhack as a standalone application (only through max) so i can not tell.īut if you are talking about the intermediate files of an instrument you can select which to save and which not. Usw wrote:I was just wondering how it handled bulk files generated from processes Is it faster than the original soundhack application ? Metasynth is another indeed another beast, we are getting spoiled by choices these days Soundloom can be annoying at first but after awhile, since cdp creates a lot of file types it can be a better choice for keeping track of those ! The last version of cdp seems indeed fully functional in mac's, it wasn't in the past though. This can be defined in a instrument so that you don't need to do it manually.Ī batch process on the other hand is when you put a number of sound files through this instrument,or any process for that matter 'automatically'. You need to first extract each channel individually, analyse it, process it resynthesize and combine the two channels to make the stereo wav. Lets say you need to make an fft analysis of a stereo file, time stretch it and get a resulting stereo sound file.
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Here is a link with a couple of sound filesĪn instrument is a chain of processes one after the other plus the selection of user parameters and initial values.
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