![]() For such a simple-seeming device, it’s surprisingly deep. So there are lots of possibilities for control here, with the FEGs, the FLFOs, the S&H, the T.Rnd, and any incoming MIDI you’d like to throw at any on-screen control. In addition to the two LFOs, there is a sample and hold unit, and in the Routing Matrix there is a T.Rnd control, which for each instance of it, gives a random value on each incoming trigger. I would be really interested in a 10-fold extension of the range of these, in either direction, but we’ll take what we can get. There are two LFOs, which can be shaped, with the available controls to a huge variety of shapes. is the FLFO or Flexible Low Frequency Oscillator page. They can also be routed to control any available parameter in the Routing Matrix, and not just be used for loudness or filter controls. The envelopes can have a number of looping modes, be of any duration, and can be either tempo-synched or not. There are four envelopes available, and each on can have any number of breakpoints (created by double clicking on the envelope line) and each slope between breakpoints can be dragged into any degree of linearity or exponentiality. of the GUI is the FEG page – the Flexible Envelope Generator. The trick, as with all granular synthesis setups, is to experiment enough so that you become sufficiently familiar with them to gain control over the kinds of sound shaping that can be produced. These controls provide an almost infinite variety of kinds of sound modification. This can provide yet another degree of fragmentation for one’s sound (Audio Damage is joyfully living up to their name!). The frequency and resonance of each filter are controllable from the Routing Matrix, but in addition to these the number of poles in the filters and the kinds of filters can be automated and controlled with an external MIDI controller. The sound then goes through two multi-mode filters, which can be routed either in series or parallel to create a wide variety of filter shapes. (MIDI-learn in Plogue Bidule worked flawlessly.) And then Quanta also has a number of internal controllers, which can be routed to any of these controls and scaled in any way in the Routing Matrix. Most of these controls can also be controlled externally, using your DAWs MIDI-learn function. Most of these controls also have a random control associated with them to provide changing settings in performance. The granulator has controls for number of grains, grain shape, length of grain, tuning of the grains, direction, position in the wave file, stereo width, fine tuning and output loudness. I’ve loaded files up to 4 minutes long with no problems. The granulator can load WAV, AIFF, MP3, Ogg and FLAC files of any sampling rate and bit depth. The oscillator and the noise source can also be routed into the granulator or heard on their own. Starting at the beginning, Quanta has three separate sound sources: an analog-style oscillator with changeable waveshape, a noise source, and a granulator. It’s functioning on both platforms is identical, and I didn’t notice any significant difference in the operating of the plugin on either platform. I tested it on an i3 Win10 machine in Plogue Bidule, and on an iPad Pro in Audiobus3, AUM and Cubasis. Quanta is equally at home in the computer or the iPad environment, although the iPad version still has a couple of minor things that need tweaking. It’s a relatively small unit, but there’s a surprising amount of power underneath its hood. Into this not-so-crowded field comes Audio Damage with Quanta, a Granular plus plugin and (in iOS form) Standalone synthesizer. There are also hardware granulators as well, such as the Eurorack Mutable Instruments Clouds. There are many granulators out there, both as standalones, or as features in larger units, such as the Granular Oscillators in the UVI Falcon, or the Granulator in AudioMulch. Granular Synthesis, as just about everyone knows by now, is the technique where either an incoming sound, or a sound stored in memory, is chopped up into many small fragments, and those fragments are then arranged in many ways to suit the needs of the user. Into the not-so-crowded field of granular synthesis comes Audio Damage with Quanta, a Granular-plus plugin and (in iOS form) a Standalone synthesizer.
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