However, what really opens up the sound-design potential is the ability to load your own WAV and AIFF files, meaning you could easily add reverb or any number of effects into the chain. Once you’ve crafted your distortion sound you can feed the signal through the amp and speaker convolution module, which features over 100 new impulse responses from traditional cabinets to more off-the-wall creations and spaces. Or you can choose to make your own waveshapes with a number of different drawing options, although these can’t be saved individually and have to be saved with the preset. You can choose from over 60 different waveshapes, then edit the distortions with the incredibly flexible, graphic-based waveshaper. Next comes the multiband Trash module, where you can select up to four bands, each with two distortions in series and the option of an additional HP/LP filter after each stage to help tame wild harmonics.
That said, with all six bands going things can look a little hectic. In typical iZotope fashion, the polished GUI is a god-send here, giving you a second node to select the frequency, gain and Q, with a small dot that shows your current position. On top of this you now have the ability to modulate the position of each node, either via a sidechain input, envelope modulation or syncable LFO, opening up the possibility for incredibly complex, multi-layered EQ sweeps to add detail to your sound. Although the filters are placed before and after the distortion by default, you can freely change the order of all the modules, even choosing to run the filters in parallel if you so desire. First up are the two filter modules, which give you six bands and a choice of over 20 different filters from clean and warm to saturated, screaming and vowel types.
With the exception of a new delay section, the fundamental modules are the same but with a number of tweaks to improve both flexibility and workflow.
0 kommentar(er)
